As a response to my increasingly digital surroundings, my works re-contextualize technology in order to understand its potential differently. I combine that approach with a career spanning 15 years in the performing arts. Historically, back at least as far as Loie Fuller, performers and choreographers have acted as technological early adopters. I continue that tradition with my work by creating hybrid media pieces that have an element that either thematically or literally addresses the body in space. I utilize technologies such as motion capture, VR, AR, volumetric scanning, and 3D modelling to create interactive, hands on pieces in which viewers directly affect their experience of the work. That can mean allowing audiences to literally pick up and manipulate the piece, such as my work in AR, or being able to participate in, and contribute to, larger web-based projects.
Live performance has a beautiful, fleeting quality, as it only exists in the moment of its performance; in contrast, digital recordings have the potential – through decentralized copying, transferring, and duplicating – to remain on a device, server, or hard drive somewhere indefinitely. By bringing the qualities that make performance so special into enduring, web-based, digital environments, I create works that live beyond the moment of inception, create unique experiences, and continue to grow and evolve.
Photograph by Marlowe Porter
Photographs by Jeremy Mimnagh
Volumetric Captures and 3D Modelling
Photographs by Sam So
Human Body Expression
Photographs by Jeremy Mimnagh
Photographs by Jeremy Mimnagh, Ginelle Chagnon, and Francesca Chudnoff
Citadel + Compagnie
Photographs by Heiko Marquardt
Hover over image for description
Luke Garwood and Mairead Filgate in Yvonne Ng's Magnetic Fields (2014). Photographer: Jeremie Andrew
Luke Garwood in Darryl Hoskins' Land of Fuck (2012).
Luke Garwood, Molly Johnson, and Tina Fushell in Fushell's Waving is Funny (2014).
Luke Garwood in Lauren Cook and Troy Feldman's overlook/outlook (2017). Photographer: Sam So
Luke Garwood, Louis Laberge-Cote, and Matthew Waldie in Christopher House and The Hidden Cameras' In the Boneyard (2005).
Luke Garwood in Delerium's Day Turn Into Nights music video (2013).
Luke Garwood in Balaklava Blues at the Latitudes festival in the UK (2018).
Luke Garwood and Linnea Swan in Allison Cummings' Final Savage Land (2013). Photographer: Omer Yukseker
Luke Garwood in Christopher House's dis/(sol/ve)r (2009). Photographer: Kristy Kennedy
Luke Garwood in Christopher House's dis/(sol/ve)r on the cover of The Dance Current (2009). Photographer: David Hou
Luke Garwood, hanging out. Photographer: Michael Sean Marye (2013).
Luke Garwood in Jacob Niedzwiecki's Jacqueries: part 1 (2013). Photographer: Vish Hansa
Luke Garwood in Kate Hilliard's Album (2014). Photographer: Jeremy Mimnagh
Luke Garwood and Johanna Bergfelt in Yvonne Ng's That Moment When (2019). Photographer: Ken Ewen
Luke Garwood and Danielle Baskerville in Darryl Hoskins' Jackie Burrroughs is Dead and what are you going to do about it? (2016).
I’m a hybrid media designer, developer, dancer, and choreographer based in Toronto, Canada. I have over a decade of experience as a dancer and collaborator with many of Canada’s foremost dance makers. I've been nominated for 6 Dora Mavor Moore dance awards, receiving one with Michael Caldwell and Naishi Wang for best ensemble in Heidi Strauss' what it's like in 2017. I was also part of the team that won a national Faust award in Germany in 2015. Outside of dance I pursued a passion for coding and programming by attaining a BDes in Digital Futures from OCAD U, where I received the Dr. Eugene A. Poggetto, and Dorothy Hoover awards. As a creator, I’ve been acknowledged for the way I merge performance with technology –– this includes receiving the 2013 Soulpepper Multidisciplinary Dance Award.