Geoffrey Lillemon (1981 USA/Netherlands) works with digital media on various platforms and projects which connects technical innovation with romantic tragedy, visual demagoguery and hyper sensationalism.

His art environments are aesthetic and communicatively too dark for the mainstream digital domain yet he has managed to infiltrate the commercial world with a personal expression of commerce as an art medium. This recurring theme in his work is clearly visible: Geoffrey combines high tech with the macabre side of romance and criticizes its aesthetic reference pool with our constant debate about taste and bad taste, decency and indecency, high culture and mainstream superficiality.

As Geoffrey Lillemon is a sort of all-eater who alternates his technical approach as a chameleon, putting his hands in the mediums of website, film, interactive architecture, stages, social media bombardment, oil painting and live performance.

He is thus almost the widest ranging transmedia artist of the moment, although its base is clearly in the digital arts. He also impacted the mainstream culture: his inimitable animations for the art IT crowd have equally been used as backdrops in extensive collaborations with Diane Martel for pop acts such as Miley Cyrus, Beyonce, MGMT, Yelle, and Nicki Minaj.

But paramount to this, even in pop adventures, the content remains unchanged and true to itself. The LED screens may be of monstrous dimensions, with music that will be presented to an audience of teenage fans, but for Geoffrey Lillemon this pop art medium is just a bigger stage to bring digital arts to a wider audience. An infiltration of the mainstream art world, as it were. And where the mainstream world takes root in experiment, as in fashion, fantasy and reality come together maybe even for better.

Geoffrey’s approach uses western image language that asks questions full of fantasy which use lyrical animation to investigate the boundaries of popular visual imagery, producing animation content for the likes of Adult Swim and MTV.

He has spoken and participated at many international design festivals over the last 17 years focusing on new media crossovers, web art, and innovative applications of visual design with festivals and events like TEDX, Next Web, FITC, OFFF, TinaB, ISEA, Film + Design Festival (NL), Dutch Design Week (NL), NODE Biennale, DAZED CONFUSED, Its Nice That, Pictoplasma. In 2009 he co-founded Champagne Valentine with Anita Fontaine where they used animation experiments to play with visual logic, fashion, internet culture and the trash subculture. They worked for Diesel, Edun, Napster, Nowness, and Tate Modern.

The American media artist Geoffrey Lillemon has worked and lived in Amsterdam for several years. Yet prior to europe, he worked under the moniker of Oculart which was an early adopter that the website should and can be established as an art medium. From here he progressed into making sculpture media works, V.R environments and video installations, from that body of a handful of pieces where purchased by the Stedelijk Museum as part of their permanent collection.

Following C.V Geoffrey started a VFX studio (Geoffrey Lillemon Studio) to support his directing work focusing on redefining the aesthetics of the pop industry and cult fashion (Bernhard Wilhelm, Moncler, Iris Van Herpen, Visionaire) accompanied by a strong focus and output in digital media arts that have been included in The Boijmans Museum, MOTI, Vangogh Museum, Centre Pompidou, La Villette Paris, MOCA, and Museo Tamayo that looks up the boundaries of animation and absurdity in animation. And 3 years ago his first U.S solo show with Visionaire in NYC entitled “Hiss Missy.”

In 2016 Geoffrey co-founded The Department of New Realities with Anita Fontaine situated at W+K Amsterdam. Here he operated as creative director on visionary projects merging art and technology and speculative design addressing the futures landscape. During his time at W+K Geoffrey was part of the Adweek top 100 Interesting People and in the Creative Review top 50 accolades recognizing the vision of the department and the future of advertising. This was proved evident with the creation of W+K’s first patent LAVA, which displays augmented reality content based on the music analysis of a turntable. Alongside the patent, numerous client projects including one of the largest V.R theater experiences Paraiso Secreto for Corona shed light on branded entertainment.

Following DPTNR he lept forward into investigating physical spaces and interactive architecture questioning how we live with technology and art in a sentient space.