Hello. My name is Evan Boehm.

This website showcases the things I make. I'm an artist/director whose specialty is in telling stories with new and emerging technology from film to web to physical. I direct, animate, code, write, sculpt and generally shoot light in fancy formations across different mediums.

You can drop me a line at
evan [at] greengoldenly [dot] com

I am the Creative Director of Nexus Interactive Arts in London.

Nexus Interactive Arts is the futuristic sister of the world famous animation studio, Nexus Productions. We exist together, hang out by the water cooler, share office romances and make things with a focus on story. I’m the longest serving member of the team, joining for the first major project then sticking around.

As a CD, I cover a lot of roles. At a top level, I look after the visual output of the interactive division, making sure there is a consistently high level in everything we do. Beyond that, I oversee projects, manage the design side of the pitching process, help more traditional film and animation film directors shape their interactive ideas and look after emerging interactive talent.

I am also an award winning director.

My directoral work ranges from animated films to open source music videos to interactive web films to digital installations. Unlike a lot of directors, my work is not an exploration and crafting of a singular style. It is about the intersection of storytelling and technology and the process of conveying something new. I tell stories for film, for physical and digital spaces, for interactions and for our bodies. It is both a defined process and a blind groping for the sublime.

Google Made w/ Code

Since 2013, Nexus and I have had a running relationship with Google’s Made w/ Code initiative whose aim is to get young girls into coding. What started out as a few web projects has turned into a series of large-scale bespoke installations and events.

I directed the Christmas Lights at the White House.

December 4th 2014 saw one of the biggest events of the year in the US - President Barack Obama and Tom Hanks switched on the Christmas tree lights outside The White House in the President's Park in Washington DC.
Working with Google and 72andSunny in LA, Nexus Interactive Arts (directed by myself) created the website and light installation programme, enabling young girls from the comfort of their homes, to code their own unique light design, using an intuitive programming language called Blockly. The girls were empowered to alter the colour, pattern and movement of the lights to create their own Christmas light show and once created, the designs were then sent to one of the 56 trees of their choice, each representing a different US state or territory.

And while doing those, we built 12 and counting HTML5 and WebGL projects whose aim was to inspire young girls with the power of code.

Stories in Spaces

A lot of my commercial work revolves the development of bespoke installations for agencies, brands and exhibitions. I’m really big on developing spaces as physical stories that people can inhabit and engage in.

Project Runway for Lifetime TV

To celebrate Project Runway's milestone 10th anniversary, Lifetime TV, in partnership with Friends of the High Line, transformed a portion of the High Line in New York City into a virtual runway with a dynamic, 20-foot long, interactive installation on the elevated park featuring the stars of the Emmy Award-nominated hit show.

For New York Fashion Week 2013, Nexus Interactive Arts created the “Cotton or Nothing” installation and stop-motion film for Cotton Inc. We came up with the idea of creating a film by combining live animated, stop-frame animation with an open-to-the-public installation. Every frame of the film contains real mannequins, and members of the public pulled from the streets of New York, moving in unison. Over the course of the installation, hundreds of people interacted and contributed to become part of the film that is now the legacy of the “Cotton or Nothing” campaign.

Looking at a Horse

Looking at a Horse is about the context and experience of viewing art. It is a piece that changes its appearance depending on where it is located and who is viewing it. Moment by moment, in real-time, it updates how it looks in response to its surroundings, creating a feedback loop where the viewer and context are part of the piece. Art has a value in being looked at. Our perception of its value can be linked to where the work is viewed and who is viewing it. To look at art is to place it in relation to ourselves and the space around it. Looking at a Horse plays on this by changing its value in response to visitors. Simply, the more people viewing the piece, the more beautiful it is.

Stories for the Web

At the moment, a lot my work revolves around the web and particularly the real-time rendering possibilities of modern browsers. I’m constantly experimenting with different ways to interact, be playful and, most importantly, convey meaning.

The Carp and the Seagull

Memory Palace was multi-dimensional exhibition experience at the V&A museum based on Hari Kunzru’s fictional novel about the art of memory. The only interactive work in the exhibition, Johnny Kelly devised a digital platform where visitors are able to draw their memories at the venue on an Android Note tablet and then on submit they are presented as a mosaic of memories inside the Memory Palace. From here, I worked with the V&A and Johnny Kelly to turn the experience into an interactive web project that users from all over the world could contribute to the Memory Palace.

Tate Britain IK Prize

The IK Prize is an annual award from Tate Britain that recognises creative talent in the digital industry.
My project, Through the Eyes of an Eight-Year-Old was one of four projects shortlisted.
The proposal was an animated, interactive web experience that showcased the BP Walk Through British Art through the beautifully imaginative mind of an eight year old boy. Its goal was to educate viewers about the history of British art through colourful illustrations, humorous dialogue and playful interactions. The 6-10 minute experience was to be much more than just a website or film. It would combine the two into an innovative narrative unlike any other public engagement project out there.

Stories for Film

I also have a long history of non-interactive work, directing music videos and freelancing as an art director, animator, coder and 3D generalist. My work always has a technological bent, regularly using novel techniques to create imagery.

A collaboration between Parag K. Mital and myself, Untitled No 1 is a video collage using only images collected from the previous 24 hour news cycle. The entire video was computationally generated from those images over the 24 hours.
No post effects were used. Details on the visualisation software here

Two Inch Punch’s "Up in Your Mix"

Music video for Two Inch Punch's Up In Your Mix. A sculpture that is part abstract, yet sexy; ghostly yet sharp and elegant. Inspired by the Japanese artist Kazuki Takamatsu, the end result is a music video that bestrides abstract animation and bleeding edge architecture. And it makes a depth pass look sexy.

I worked as an art director and technology forecaster on the mega franchise that is the Call of Duty series. My work focused on mainly the in-game feel and the cut sequences.
It was great working with Activision and the dudes at Spov imagining what the immediate (10 year) future of war would be like then going nuts with it.

Maroon 5 held a Coca-Cola Music 24hr Session where they were the first artists ever to write and record a brand new track while drawing on live inspiration from fans from around the world. The project was conceived by Wieden + Kennedy and Lexis PR, directed by Hellicar & Lewis and featured innovative technology that helped fans interact with the band while they were in the studio. Fans were asked to send in words, pictures and comments live to inspire the creation of the song. They also had the chance to ask questions of the band and help with critical decisions by voting for different options.
My role was the broadcast animation package that went out live with the various highlight edits. I also helped Pete Hellicar concept the initial designs during the early development period.



The short version:
"Evan Boehm is an award winning artist whose work focuses on the intersection between technology and storytelling. With a background in computer engineering and 3D graphics, his work ranges from animated films to open source music videos to interactive web films to digital installations, always expressing his interest in narrative structures and character interaction. His goal is to always tell a story in a new, fantastic way using technology as the medium.
Evan's work has been shown internationally and he regularly gives lectures on technology and design.
He is the Creative Director of Nexus Interactive Arts in London."

Some awards I've won:

Bronze Clio: Digital: Made w/ Code

D&AD White Pencil: Creativity for Good / Advertising & Marketing Communications for Made w/ Code

Webby Winner: Corporate Social Responsibility Campaigns for Made w/ Code

British Arrows Finalist: International

Tate Britain IK Prize Shortlist

SXSW Finalist: Art: Memory Palace

Webby Nominee: NetArt: Memory Palace

Creative Review Annual: Memory Palace

Adobo Awards: Gold: Best Design, Interactive: Memory Palace

Ciclope Festival: Finalist: Interactive Film

Lovie Awards GOLD: Best HTML5 for The Carp and the Seagull

Creative Review Annual: The Carp and the Seagull

Webby Nominee: Experimental & Weird for Carp and Seagull

Webby Honoree: Movie & Film for Carp and Seagull

Webby Honoree: Mobile & Expereince Marketing for Project Runway

Webby Honoree: Best Use of Interactive Video for Carp and Seagull

Creative Applications: 10 Best and Most Memorable Projects of 2012

FWA: Site of the Day

Adobe: Cutting Edge Project of the Week

Culture Bully: The Most Technologically Innovative Videos