Space as a canvas

Projection artist Nick Azidis has been using Melbourne as a canvas for his artwork for over 20 years. Unlike other artists, his aim is not to create eternal artwork - but he eternally changes viewers' perceptions


It was in the early ’90s, from the window of a warehouse in Lonsdale Street, just above the Greek International cake shop, that artist Nick Azidis shed his first beacons of light – his primal projections – on the faces of surrounding buildings.

Previously involved in the medium of metalwork, Azidis turned to the impermanent art of projecting.

As contemporary as projection art seems today, its beginnings in Melbourne go all the way to the late ’50s and psychedelic parties, when projection art godfathers – as Nick calls them – Ian De Gruchy and Hugh McSpedden led the new art scene.

The two remain Nick’s inspiration after more than 20 years in the industry, alongside the ever-changing Melbourne cityscape.

“In 1992, there were few projection artists. The godfathers of projection art, Ian De Gruchy and Hugh McSpedden, both did very different work, but they’ve been doing it since the ’60s and ’70s – from psychedelic rock bands to art installations,” Nick Azidis tells Neos Kosmos.

Soon after Azidis discovered projection art, he bought his first projector and began experimenting with light.

It was at this point that his views of artist as creator of eternal artwork gave place to those, rather, of eternal memories and perception changing through art that leaves no trace.

“I built funny projectors that had some moving patterns and moving crystals and used it at events and parties – and ever since people wanted to give me money to do that.

“I always supported myself with my own art, whether it was painting, sculpture or something else; and then this transition to do projections came. After two years of scattered jobs, it became full time.”

With Nick inspired by the architecture around him, Melbourne space, its streets and buildings, became his canvas. He tells stories through images and shapes of light and colour in a transparent format.

“I think it’s just a very interesting medium to work with because it transforms space. I like walking into any sort of new venue or new building and dealing with the challenges of how to light it without having any previous idea.”

Working each time with new images, custom made and mapped to the architectural structures he projects onto, Nick says his art adds another layer or dimension to an existing environment – making you notice and think about the space differently.

“My work is always process-based, I can never know – especially when I’m doing my own creative freedom sort of work – what it is going to be or look like. I love doing art, it’s quite therapeutic. Sometimes you can’t really explain what you are doing until the very end,” Nick tells with a giggle.

Specialising in the medium of analogue projections, the changes in technology haven’t affected his work. Nick is adamant that it is the human – not digital – factor that makes the difference.

“What has really influenced me and what’s cutting edge is being innovative and creative without the cutting edge of technology.

“I think projection has been around since the camera was invented and mapping and masking were actually used at the opera houses and concert halls
from Vienna to all over the world. They used mapping to mask out the set, so it has always been around.

“I suppose there are a few tricks now with technology through some programs and animations you can do with 3D, but you can still avoid it. I work with films. Being innovative and creative you can be more cutting edge than with technology.

“Building can be custom- mapped with some 3D mapping, so it can be tailored for architraves and doors and walls… It’s nice having a little element of that but I quite like completely transforming the building, turning it into not a building at all – a building into a ship or into anything else.”

Since his involvement with projection art started and since Projectionteknik was established in 1992, where he is the creative and managing director, Nick’s artistic investigations with projection have resulted in the creation of more than 1,500 installations.

He has been involved with the Gertrude Projection Festival, White Night, Melbourne International Music Week, Melbourne Fringe Festival, Big Day Out and Melbourne Biennale, to name a few.

As highlights of his career, Nick counts a few projects. Melbourne White Nights come first. He is quite proud to say that Projectionteknik did a projection of the Ancient Greek library onto Victoria State Library.

His other big gigs to date include the projections for the 2012 and 2013 Australian Open and projecting onto the Sydney Opera House and bridge pylons in 2011.

“But what I’m also quite excited about is what we are doing now – some winter projections at Mt Buller, projecting onto the snow. I always wanted to project onto the snow, it’s a perfect canvas,” Nick says.

For last five years, Nick Azidis has been a constant of the Gertrude Street Projection Festival. At this year’s festival, that took off on Friday night, Nick will be doing solo work onto housing commission flats.

“The director of the festival asked me what the title is for my work – and I’ve always been pretty uncomfortable
with titles and naming. I feel like if I’m going to be doing my own artwork then I just want to have that freedom.

“So I quickly pulled the title out of nowhere and I called it Lighthouse because those commission flats are a bit of a beacon for the area, and a beacon for the festival as well. So I’m going to transform the building into a huge lighthouse with beams coming out.”

For ten days, 40 sites in and around Gertrude Street will be illuminated with visions of a number of established projection artists including Nick.

To see Nick Azidis’ projection art visit Gertrude Street Projection Festival, Gertrude Street, Fitzroy from 18-27 July, 6.00 pm until midnight daily. The festival is free. For more information visit www.gspf.com.au