An Illuminated Realm with Tupac Martir
As the curtains are drawn on an exciting stage, a name emerges as the master and creator of light: Tupac Martir. A genius who pushes the boundaries of art, offering an extraordinary visual and auditory experience. We are about to enter the luminous world of Tupac Martir, where the power of expression converges with the mastery of technology and analog art.
Can you tell us about your background and how you became interested in the intersection of technology and the arts?
Tupac Martir: I am Mexican. My dad’s indigenous, so there’s always been this element of maintaining an indigenous element into my work and I am a nerd. I’m 46 years old. But, I started coding at the age of six. It was the time that when coding was not. I will never say that we were poor cause I was not. My mother loved me a lot. We were financially challenged and so I used to go groceries on Saturdays and Sundays as a six years old to make money so that I could buy the magazines that would teach me how to code. I used to code on my notebooks; then later, I would check them in the computer. So through that, like every single kid, I had an imaginary friend. His name was Bobby and my other friend was technology. I have this beautiful friendship with technology. I always talk about technology, viewing it as a character rather than an enabler. To me, the graphical statistics, engine, software, and operating system I choose are conscious decisions that contribute to the character I am constructing. It’s similar to an actor who starts by deciding on the backstory of their character. Technology, in my perspective, embodies this essence. When creating my pieces, I meticulously consider the graphic design, engine, software, and operating system as deliberate choices in shaping the character. Technology is never meant to be the front runner. Its never meant to be the most out there part. It should always be like a sidekick that is always helping. I am a human-centric person, and my works are primarily driven by human experiences. The interplay between technology as a secondary character and its role in enhancing human interactions forms the foundation of my creative process.
What do you see as the most exciting or promising developments in technology for the creative industries currently?
Tupac Martir: I think where we are right now with all these models is what I considered the second coming of the Industrial Revolution and I think that we are really at that parallel now. We all thought that the internet was gonna be ‘it’, but it was actually not. All these new models that have come and everything’s built up to this new moment, which we’re in. Obviously, it is incredibly exciting. Every day you hear a brand new tool that’s come out but the most important thing is about them is that they are tools, right? They are not the final product that you need to grab each one of them and find how you intersect them and how you actually manipulate them in order to be able to tell the story. So, in that sense, I think calling the models and the general element of the models the most impactful technology that exists right now, I think it’s a bit generative because its too general for it. The key is to maintain a human-centric approach during the rapid advancements in technology. Rather than being lost in it, we should befriend it and utilize it as a supportive element in our human journey.
How do you approach designing immersive experiences that engage audiences in new and meaningful ways?
Tupac Martir: The first and foremost, I write a lot. I draw a lot. I try to approach each piece in a circular way. I don’t write one single piece. I write on four pieces at the same time. So, I’ll be writing the story at the same time that I’m writing the music at the same time that I’m writing the music at the same time that I’m writing interaction or the movement. So, every single element has its own page. Therefore, I write in parallel across all the elements. Then, I create sort of like a big charts of the storyline that I’m trying to tell and the rules that are not I’m not allowed to break. I draw a line across it and go anything that happens above this line has all these rules. Anything that happens underneath this line has this rules and they should not break unless I want to break them for a very specific reason. If I’m breaking that rule, it has to be a story reason to break that rule. By doing that, it is lot easier to understand at least in my brain. My collaborators will tell you that I’m a bloody nightmare. But, at least in my brain that piece helps me understand the full piece. I understand that some of my collaborators might get frustrated with this type of way of working because they might not be able to see what the final output’s gonna be at the end. I understand that my job is to be the keeper of the story and the guardian of the story, and based on that you have to trust me that I am doing the right decisions for what we’re trying to achieve.
“I tell people that I fail every single day. I fail more often than I actually win. But I’m lucky enough that I’ll find a little moment that I find it’s interesting. “
– Tupac Martir
You’ve worked on projects for a diverse range of clients, from fashion brands to music festivals. How do you tailor your approach to each project and client?
Tupac Martir: That changes depending on the client, depending, depends on, on what’s been outside of us. As someone who directs, I like to think that I put myself at the service of what they need from me. If many times I’m just asked to be the lighting designer and I come in with my ideas of a lighting designer and the things that I want to do, and I explain it to them. However, it gives me the opportunity to understand that if they’re asking me something, I need to bow down to whatever they’re telling me. Because in the same way that I say trust in me, I have to say “I trust in you”. I remember when we were doing a show for Moschino with Jeremy Scott, and Scott was like, “Tupac, I think it is too flashy.” I turned it down through this and after seeing the show, I understand what Scott said is much better. Because he knew that the collection better than I did. He knew what the looks were gonna be. He knew the pacing.
What advice would you give to emerging artists or designers looking to incorporate technology into their work?
Tupac Martir: Learn, read, try, don’t just drop it in there if you start something. Grab every single little thing that exist and play around with it. Mess around with it and see what each one of them does. So many people are scared of failing on a regular basis. The fear actually detracts from the opportunity of finding new things. I tell people that I fail every single day. I fail more often than I actually win. But I’m lucky enough that I find a little moment that it’s interesting. The most important thing is as an emerging artist is acknowledging the history. You need to know where everything comes from. I went to art school, I have a bachelor in fine arts in painting, drawing, etching, photography and digital art. So, I come from a very physical space. But also I have a master’s in theater design, and I work a lot with computers. It’s how I found myself in this space where I’m so analog and I’m so techy. Therefore, I can kind of understand where the balance of both of them were because bringing dance to a festival like this is already a leap of faith. By incorporating a solo dance performance, followed by people singing a chant from Northern Mexico, and culminating with a choir that involves the audience in singing, I am taking daring leaps of faith in exploring the boundaries of this artistic element. However, it is truly thanks to the platform provided by those (Sonar Istanbul) who support me that I am able to showcase this unique blend of technology and performance within a festival setting.
How do you balance the use of technology with more traditional artistic techniques in your work?
Tupac Martir: This is exactly what I’ve been doing for my entire life. I don’t believe that computers are the solution for everything. I believe that everything that can be done in analog. Basically been done at this point of our lives. And so it’s kind of how, how that balance needs to live. Let’s take the motion and the movement, which are two different things from somebody. And then bring the video, which would be like the most classical way of doing it. But, ‘Haita’ is made out of that and more. Therefore, I decided to scan Rita. I obtained an MRI scan of her entire body, including her brain. These scans captured the movements of her brain and body, which I then used to generate illuminating visual sequences. By extracting specific body parts, I integrated them into particle systems and incorporated them within the surrounding space. Furthermore, I applied motion capture technology to record her movements, along with volume match capture to enhance the accuracy of the representation. I created videos and projected them onto Rita, adding another layer to the piece. Additionally, I utilized an EEG scan of her brain activity while she imagined dancing, using the data to illuminate her as she performed. Consequently, the entire piece is composed of a single human being. This is technically such an analog way of working.
Can you talk about any upcoming projects you’re particularly excited about?
Tupac Martir: In 2022, we debuted a piece called ‘Unique’ at the BFI. ‘Unique’ is sort of the completion of his exploration that I’ve been having for the past six years about what I call a performance that happens in different realities. ‘Unique’ comes from a graphic novel that I wrote between 2013 and 2015 about me as a person, about my feelings, about my understanding of the world, about this idea of when I close my eyes, who lives in this body?, Is it me? Is it my soul?, my worries, my preoccupations, the same that other people are having, all these kinds of things. I can write music with a little model that we’ve created. I do eight bars of music, and then the eight bars of music transform into 32 bars of melody and 32 bars of a chord progression per chapter. Then, I can tell it now, “One it for guitar, cello, and violin.” Therefore, it just spits the music out really quickly. What that allows me to do is that I can then train it with any other instrument that I want; so, I can move the piece as I want. So, we’re gonna show that in Barcelona.
Every time the show looks different, because depending on how I conduct the music, that derives on how all the visuals are gonna be looking like. This entire exploration of how are we gonna do it? How is it gonna look? How is it gonna sound? It’s a big endeavor, but I want to prove that I can do this in a perfect place for me. When I come to Turkey, I can go and find traditional Turkish sounds and instruments, and then implement that into the sounds. I will integrate the culture into the way that the sounds are so that, the locals can hear elements of their own culture within this universe or themes that I’m trying to play with.
How do you measure the success of your immersive experiences?
Tupac Martir: I can’t measure it. It’s not up to me to measure any of this stuff. My sole job is to put out the work and hope that it resonates on somebody that’s as much as you can go to get a message from somebody, to see a post, I remember doing a piece in Mexico City in 2017 after the earthquake in which, we wanted to celebrate Mexicans. If you ever catch a glimpse of me, you’ll notice that I tend to remain in the background, avoiding the spotlight and applause. I prefer to let others bask in the recognition, for they are the ones performing and making everything come alive. I see myself as the driving force, the engine that enables this artistic expression to unfold. As a result, I keep my distance, understanding that success isn’t about personal validation, but rather about presenting a piece that resonates with the universe, allowing individuals to discover themselves within it. Through witnessing my work, it is my hope that people exclaim, “Oh my God, I truly appreciate this!” and find a common ground. When that connection is established, it reassures me that neither of us intends harm. By crafting pieces that facilitate such connections, I contribute to a world to have less anger and more positivity for between people. That’s kind of the goal of it.
Are there any specific technologies or products that you refuse to use or promote in your work, and why?
Tupac Martir: Cigarettes and any weapon. I’ve been approached a lot by weapon companies to do shows, to do presentations, to do things for them, and that’s a big no. I will never, ever, ever support something that creates this much pain in the world.
“Technology is never meant to be the front runner. Its never meant to be the most out there part. It should always be like a sidekick that is always helping.”
-Tupac Martir
What are some small actions you take each day to improve your productivity?
Tupac Martir: I meditate every day for 25 minutes in the morning. 25 minutes a night, and that could be both. I try, if possible, to either go for a run or row or box every day. I draw every day for at least 20 minutes. I read every day for at least 20 minutes. I wake up very early as you can tell, because I have to fulfill many obligations for my own life. Because of life, I became very stranded with my little brother. I really haven’t had much communication with him in my entire life. In this piece (Haita), I asked him to make all the jewelry for my dancers. And by doing that, we got connected again. I lost my mom during pandemic in 2021, and that was a very difficult moment in terms of my entire world got shook. I can best describe it as follows: my mother was always the hand that held the kite, allowing me to soar freely. Wherever I ventured, I knew there was a tether, an invisible string grasped by someone, assuring my safety. But when she passed away, it felt as if that string was suddenly released, and I found myself drifting aimlessly through the world. I’ve been searching for a way to anchor myself again, to regain that profound connection, but haven’t been successful so far. Reestablishing a relationship with my brother might potentially serve as that anchor. Therefore, one important reminder I give myself every single day is to send him a morning message, simply saying, ‘Good morning, how are you doing?’.
If you could have any superpower, what would it be?
Tupac Martir: I’m a big believer in Protopia and this idea that machine and technology are gonna help us and they are gonna be one of our safest. Also, I’m a big believer of in this element of Protopia that says that every human should make the world 1% better. Every year that you’re alive, which means if you’re retire by the age of 75 years old, you’ve made the world 75% better than the day that you showed up. So if I had one superpower, it would be able to make people conscious about the possibilities of what they have and how even though they think that it doesn’t really matter. If they were actually able to believe that, we would actually have a better world.
