Women on SketchFab: Mez Breeze

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Hiya. I’m Mez…Mez Breeze [make sure to say that in your head just like the famous James Bond quote. ?]. I’ve been writing, constructing, and developing an absolute boatload of digital art/fiction, VR and AR experiences, games, experimental storytelling, interactive fiction, regular dead-tree books, and 3D/VR sculptures for over 20 years now [yup, I’m an oldie]. I also like to regularly, and incorrectly, [ab]use square brackets. My background includes having Degrees in Applied Social Science as well as Creative Art and Writing, and I’ve tinkered in everything from electronic literature to analog drawing/painting/installations, and now VR sculpture/illustration. I trained in visual art in the early 1990s and only in the past 5 or so years have come back to the plastic arts, centering on using VR to create 3D and XR artworks.

Artistic Focus and Approach

My artistic focus and approach all hinge on experimentation. I’ll never stop experimenting—that’s the best part of it, learning the ins-and-outs of the tech, trying out new tools and pushing them beyond their design parameters—that’s what floats my boat [so to speak].

For instance, in “Stancer” [a piece I’ve been working on for a while now that’s gone through a heap of iterations] I wanted to try to craft a work with a fluid feel that embodies a type of robotic integration into an overall organic form. I also wanted to really stretch the post-processing aspects that are available in Sketchfab by trying to craft versions that emulate effects found in traditional drafting/drawing, or metalwork, or physical sculptures—to see just how different one single model can feel through altering post-processing parameters. Some feedback I’ve recently received from musician Barry Snaith about the latest version of this work is:

Like a ‘brundlefly’ morphing between Perspex police riot shields, cycle helmets and Bambi’s father, with a bit of Prince thrown in there. Looks wonderful in lilac.”

So far these are just some of the various incarnations of “Stancer” that show this history [starting from the earliest to the latest]:

My usual approach to creating in XR in general [and VR/3D in particular] is through flexing the scope and reach of it, especially in relation to storytelling and how it can stretch traditional boundaries. I think of VR as an embodied storytelling medium, with super-potential to impact an audience in a personal, almost intimate, way.

The way I’m approaching it is to use the haptic intensity of it, the concentrated nature and experiential quality of VR and 3D works to produce projects that hopefully really leave a mark [and create internal excitement squeals too].?


Things that inspire me the most when designing aren’t really other creative projects, but are instead drawn from a crazy-large-and-hodgepodge stimulus pool. Right now anything from biological/ecological/permaculture systems [e.g., birdwatching] to insanely-voyeuristic pop culture absorbing are helping shape the odd evolutionary critters that are currently creeping out of my subconscious, seeping down through my Vive Controllers and into the Sketchfab space.

Why and How I Use Sketchfab

Right now I’m using Sketchfab at every available opportunity. I’m having such an awe-inspiring time experimenting, problem-solving, and setting challenges like doing different versions of 3D/VR sculptures and experimenting with how post-processing can produce such varied results. Another challenge I’ve set is making sure I don’t get stuck in just producing one style of work but instead that I try to constantly change what I create and how I craft it.


About the author

Mez Breeze

Mez Breeze creates experimental storytelling, digital literature, VR sculptures + paintings, XR experiences, games, and other genre-defying output. In the early 1990’s Mez first started using the Internet to create digital works and she hasn't slowed since. In July 2019, Mez won the 2019 Marjorie C. Luesebrink Career Achievement Award which: “…honors a visionary artist and/or scholar who has brought excellence to the field of electronic literature.” In November 2019, Mez’s Virtual Reality Microstory Series V[R]ignettes won the Queensland University of Technology’s Digital Literature Award, the “…world’s richest digital literacy prize”. Her projects are taught worldwide, with her works residing in Collections as diverse as The World Bank, Cornell's Rose Goldsen Archive and the National Library of Australia.

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