The viewer is dropped into a luridly carpeted room with a swiftly replicating group of female figures who saunter, float, molest, and abuse each other; the f-word is wielded like a blunt weapon. McCarthy’s characters—an older woman in a red satin dress, and a younger blonde girl with a serious Village of the Damned vibe—taunt each other, and the viewer. If Lemmerz’s Jesus involves a quasi-somber contemplation of the horrific, McCarthy’s VR experience is about claustrophobic overload, with its protagonists getting in (and sometimes through) your face.
Both pieces deliver a condensed emotional experience in a way that would be frankly unimaginable using other media. Lemmerz, whose multimedia practice has always been rooted in the fundamentals of draftsmanship, sees virtual reality as an inevitable next step.
“On the one hand I’ve got a tool to make a drawing, like the cave painters did,” he says. “And then you’re in this absolute magic box of the newest technology.”