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Tara Rose Morris’s Immersive Vision Heads to Montreal with UNDERSKY
Montreal’s immersive arts scene is preparing for a luminous new moment this October, when new media artist Tara Rose Morris brings UNDERSKY to the Grand Library by Quartier des Spectacles. The project is set to be projected in one of the city’s most visible public cultural spaces, underscoring how fulldome-adjacent and large-scale projection work continues to push beyond the planetarium into the urban landscape.
Morris has built a practice that sits at the intersection of installation, film, and performance, with work that asks how technology shapes — and sometimes distorts — our relationship to the environment. That focus gives her projects a distinctive place in the immersive cinema field: rather than treating spectacle as the endpoint, she uses it as a lens for reflection. In a moment when immersive venues are seeking works that are both visually arresting and conceptually rich, UNDERSKY arrives with strong momentum.
Her creative profile has steadily grown across festivals and experimental media platforms, with presentations at IM4 Labs, PXR, Reel Asian Film Festival, Sari-Sari Xchange, Interaccess, Charles Street Video, Gray Area, SXSW, VIFF, Nuit Blanche Toronto, and MAPP. The breadth of those appearances suggests an artist fluent in both festival circuits and site-specific public presentation, a valuable combination as venues look for work that can travel across formats.
A major milestone in that trajectory came with her first fulldome film, Flicker and Gambol, which toured planetarium festivals and won the 2026 Janus Award for Innovation. The recognition points to a broader appetite in the fulldome world for original forms that move beyond nature documentary conventions and toward more experimental, authored, and hybrid storytelling. Morris also won the MultiFest Projection Mapping Award in 2025, adding another signal that her work resonates across multiple immersive disciplines.
“Tara Rose Morris is a new media artist based in Montreal, creating installations, films, and performances that explore how technology intervenes in our relationship with our environment.” That line from her creative overview captures the throughline of her practice and helps explain why her work travels so well across venues. It is not just technologically sophisticated; it is thematically urgent.
Another key detail from her overview is that “Her project UNDERSKY will be projected on the Grand Library by Quartier des Spectacles in October 2026.” For presenters and programmers, that announcement is notable because it reflects a growing interest in bringing immersive works into civic space, where the audience includes both dedicated artgoers and casual passersby. This kind of presentation can expand the reach of immersive media while testing how public architecture can function as a storytelling surface.
Morris’s training also helps explain the polish and interdisciplinary intelligence behind her work. She studied Media Studies at Pomona College and earned an MSc in Fiction & Entertainment from SCIArc, later adding creative technology training from Gray Area in San Francisco and SAT in Montreal. That mix of humanities, design thinking, and technical development is increasingly common among artists working in fulldome, projection mapping, and hybrid cinema, where successful work often requires fluency in both narrative and systems.
For creators and venues, Morris’s trajectory offers a clear takeaway: immersive audiences are rewarding work that is both formally ambitious and emotionally or intellectually grounded. The success of Flicker and Gambol and the upcoming visibility of UNDERSKY suggest that there remains strong room for experimental projects that can adapt to different display environments. For artists, that means the fulldome field is still open to bold new voices. For venues, it is a reminder that audiences are eager for works that feel fresh, site-responsive, and connected to larger cultural questions.
As the immersive sector continues to evolve, festivals and projection events are increasingly serving as launchpads rather than endpoints. Tara Rose Morris’s growing recognition shows how a new media artist can move fluidly between planetariums, public projections, and international festivals — and how that mobility is becoming one of the defining strengths of the field.
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Originally reported by via fddb.org on 2026-09-16 01:59:00.
Read the full original article here: fddb.org