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Got Time? An interview with David Clark
James Fowler
August 14, 2012


In 1879 at the Royal Canadian Institute, a Scottish-born engineer and inventor proposed World Wide Standard Time. His innovation has since come to be known as our International Time Zones and helped me age a couple hours this month on a road trip from Ontario to the Maritimes. While in Halifax I met NSCAD professor and new media artist David Clark as he prepared to install Meantime in Greenwich, a public art piece in the city’s Sir Sandford Fleming Park. Commissioned to commemorate the great man’s temporal achievements, this multimedia work is comprised of twenty-four sundials spread around the park and includes augmented reality and a mobile app.

Clark is an artist filled with enthusiasm and intellect. His previous project A is for Apple played at Sundance, SIGGRAPH, FCMM, Transmediale in Berlin, and the Museum of Moving Images in New York. Visiting him in his studio filled with maquettes and electronics is like a trip to a new media toyshop complete with a green screen stage. He shared his thoughts on the current state of new media arts and hypothesized on its future. He also spent some time talking about his career path and his current projects. 

JF: It seems every new media artist has a story about their journey toward their current practice. Where did yours begin?

DC: I started in art school doing drawing and painting, but I also had some music and electronic music in my background, so I got into video. What I really gravitated towards is collage. I think that has been central to everything I do. In grad school I was doing sculpture but also video and sound. I ended up doing experimental narrative video and teaching media arts when computers started to come, so I had access to computers and started to see how CD-ROMs and interactive media fit with ideas I was interested in. I went into filmmaking quite seriously for a while which helped me think about performance and narrative, but also the production process. I was very happy when they invented the internet because it solved a lot of problems with how I worked and how I got my work out there. Now I’m doing net stuff and multiplatform projects, but also public pieces.

Waterfall Interactive Public Sculpture, 2010
(Kim Morgan, David Clark, Rachelle Vaider Knowles, David Ogborn)

JF: As a new media artist, you've transitioned from private work to public commissions. How has this impacted your work or changed your approach?

DC: Well, I don’t know about private work. I never really sold much. I guess I was really attracted to the internet because it’s about giving it away and through that, working with a kind of public art. I have been doing public commissions lately and this is because I am interested in how to engage an audience outside of the art world. I think it’s important to not just make work that other artists will understand, but can be appreciated on a number of different levels by different people.

JF: I've noticed a shift in definitions of what new media art is. What is your definition and how has being a professor at NSCAD influenced your view of these definitions?

DC: I think the term “new media” captures the shift that happened in the formal properties of new media -  things like interactivity, malleability, and user-generated content - that were quite distinct and were game changers at the time. My perspective as a NSCAD prof has shown me that perhaps this newness and the strangeness of this newness is not really as prominent now for a generation that has grown up with these tools. There isn’t the sense of liberation that accompanied the introduction of digital film or the boundlessness of the internet with this generation. New media is kind of the bad old media for younger people today. In fact you see a great deal of enthusiasm for an old medium like hand-developed film because it is not so easy and ubiquitous.

JF: Give us an overview of the project for Sanford Fleming Park.

DC: Meantime in Greenwich is a piece that I just finished. It is a public commission for the City of Halifax. It consists of twenty-four sundials that each trigger one of twenty-four audio stories and, through an iPhone app, allow the user to see twenty-four virtual sculptures using an augmented reality browser called Layar. The hook for me is the location; it is both a sprawling park with great paths to walk on and a place where people gather and swim and hang out. I wanted to try and do something with augmented reality and cellphones and see if I could work with stories in a park like I have on the internet. The ideas crystallized around Sandford Fleming’s relationship to standard time and it made me think about a series of contemplations about time, terrorism, and technology. The idea of making sundials was a breakthrough idea because it spoke directly to Fleming’s assertion of clock time over solar time, and was an interesting sculptural object to work with.


Meantime in Greenwich. Location map of the twenty-four sundials in Sir Sandford Fleming Park, Halifax

JF: What technologies are at play in this work?

DC: This piece has really allowed me to try out all the tricks in my toolkit and add a few more. The sculptures had to be installed in the park for a couple of years and be tough enough to face the weather and whatever violence might be visited upon them. I wrote the stories that the actor Neil Thompson read. I have worked with Neil before and felt I could write for his voice and also write music that would work with the voiceovers. The iPhone app development was all new for me. I worked with the artist Lukas Steinman here in Halifax; he really took on the development of the app. We looked at a number of AR toolkits and settled on one (Layar) that we could embed inside our own iPhone APP. This restricted us to working on an iPhone platform but we could only really choose one platform at this point. I am pleased with the results. The piece speaks about the virtual and the real aspects of time, and I think you experience that with the AR objects you see in the park.

JF: With public art there are sometimes special considerations made. What considerations have you made to engage various demographics in the community?

DC: I think the writing was conscious of the audience and the location. I also liked the idea of using the sundial because it might not be completely out of place in a park and would be at least recognizable for a general public. I have found that it is easy to describe what this piece is and then hopefully intrigue enough people to actually download the app and see the piece on the site. This kind of work can be a hard ask of your public so I wanted to make it accessible as well as satisfying for those who make the effort to see it.

JF: What's next for you?

DC: I have a lot of stuff going on in the studio: making models and playing with digital tools like 123D Catch that quickly makes 3D digital models. I’m working sculpturally, but also trying to find ways of continuing to work with non-linear narrative. I have been working with the Game Engine Unity3D and have a project that I call an opera, although I don’t really know if it will qualify as an opera. I’m just interested in music and staging in a 3D digital world.

In addition to finding out about David's projects, I asked him our ripid-fire ART+TECH questions:

Favourite exhibition from 2011:
Ryan Trecartin at PS1

A future technology you are most excited about:
  3D printing and 3D capture

An artist using new technology you think is interesting:
Pierre Huyghe

A tech gadget you would like as a gift:
Makerbot or Laser Pico Projector

Given an unlimited budget, an art project would you like to initiate:
  An artist’s massively multiplayer gameworld

Favourite social media platform for personal use:

A social media trend or behaviour you find irritating: 
iPhone Cocooning

The first command you would give to a personal assistant robot:
  Come here Watson, I want you.

Coffee or tea:

Three things you love about your job: 
Stationary.  Studio Snacks.  Traveling to festivals and residencies.

Meantime in Greenwich is on public view for the next two years in Sir Sandford Fleming Park, Halifax.

For more on David Clark, visit his website.

James Fowler worked in public relations with organizations in various industries to achieve their communications goals and streamline their media messaging, monitoring and metrics. James currently maintains a fulltime studio practice in Toronto and has taken a keen interest in social media and eMarketing. He joined Akimbo in the spring 2011 as Social Media Director.

LETS CONNECT! Please leave your comments and questions below - We'd love to hear form you! You can also join our coversations on Twitter and Facebook. If you know of someone who is using technology in a new and interesting way, think we might investigate a new trend or want to make a suggestion for a TweetChat topic, please write us at 



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