Dr. Paul Bucci

Author: Paul Bucci

  • Set design

    A CAD model and hand-built maquette for the play Green Eyes.

  • The Syrup Trap

    The Syrup Trap was a mostly-online Canadian humour magazine. I was one of the founding editors, working mostly on audio/video projects, a single issue of a print magazine, and whatever other design work needed doing.

    The print magazine was illustrated by now New Yorker famous Zoe Si; I did all of the layout and design. Geist Magazine printed it for us and ran it in the centrefold.

  • Going forwards, moving backwards

    An installation at the Waterfront Canada Line station escalators. The piece was a computer-generated maze that had a hidden message that was viewable only through the red-tinted windows from across the street.

  • CiTR Radio

    For a number of years, I worked as the in-house designer for CiTR 101.9 FM radio. I created a number of ad campaigns, posters, and internal documents.

    The team wanted consistent internal branding, but also had a good sense of humour. For the org charts, they wanted a readable one (top) but then this ridiculous World Map of CiTR.

    One of my favourite projects was the annual FunDrive, where CiTR does a week of call-in donations to support the station. Each year was a different theme.

    A selection of posters, stickers, and brochures from the FunDrive.

    One of my personal favourites was a poster for Nardwuar the Human Serviette, who ran (still runs?) a weekly show at CiTR for years.

  • Gross Density Parcel

    Group show in Surrey. A homeowner left their land in disarray for a long time and a group of artists were invited to make works using the detritus left around. My piece was a back-projected window made to look like the reflection of a TV’s colours on someone’s curtains when viewed from an alleyway.

  • Concatenation

    A group show where each piece was a digital riff off of the previous. Each artist had just a few days to remix and respond to one before it. My original riff on the left, and the eventual remix on the right.

  • Please destroy my piece

    For a solo installation and exhibition, I hung string across a gallery, placed scissors at the other end, and dared visitors to cut their way through. Some dared, most did not.

  • Beaty Biodiversity Museum

    When I worked at the Beaty Biodiversity Museum, I created a number of displays for their permanent collection and temporary exhibitions. One of the most ambitious was a show that ran along the whole length of their 75+ foot back wall. It was a collaboration with the BC society for Children’s Writers and Illustrators featured a children’s reading area and many display cases full of the Beaty’s permanent collection of interesting animals.

    Exhibition images courtesy of the Beaty Biodiversity Museum

    Every ten feet or so, a large wall-hanging accompanied a themed case. Works by Canadian writers and illustrators were hung along the way, interspersed with collection pieces and write-ups.

    There were so many individual pieces in the show that we had to develop a system for automatically populating didactic panels.

    It was fascinating to combine narratives of the featured writers with the Beaty’s extensive collection of animals and plants.

    Illustrations I created to plan the physical space and coordinate with the rest of the exhibition and design team.

  • Don’t worry, I’ll pray for you

    For one exhibition/performance, I set up a confessional booth in an office. The people who worked there recorded confessions that were later played on loop on many hanging speakers in a room. Some were written on a piece of paper and torn up.

  • Light & Music

    For one research project, I was hired to do the physical design of a two-part interactive installation series. Working with a team of musicians and one other artist, we created interactive works that sensed body movements and translated into audio and light displays.

    One installation was a 8-ft long box of speakers sitting across from a light projection. When one person walked by each speaker, a tone would play. And when one person walked by the projection, a bar of light would be displayed. But when two people coordinated their movements, a full spectrum of colours and tones would be displayed.

    For the second installation, I designed and built three chandeliers from acrylic rods. Red LEDs shone through the rods according to a bird flocking simulation that was controlled by audience movement below.