I build things that perform.
And I mean that literally: I’m a dancer who codes, so my XR work cares less about polygon counts than about whether your body actually buys what it’s seeing. Five years of it at KHORA (one of Europe’s biggest immersive studios, more than 600 projects), plus my own on the side: over 25 shipped, eight-plus EU-funded, and the ones I’m proudest of ended up on a real stage in front of real people.
How I can work with you
Real-time VR, AR and MR in Unity and Unreal, C# and Python: interactive, performed, built to run live.
Scoping, steering and delivering XR across partners and budgets, the role I've played across eight-plus EU research programmes and 50+ partners.
Prototyping the idea before it's a spec, especially where performance and technology meet.
New Business Models for Live Theatre in Virtual Reality
Two of Denmark’s biggest theatre directors wanted to know if live theatre works in VR. I was the one who had to build it, and then act in it.
Khora’s question was simple and slightly terrifying: can you put live theatre inside VR, keep what makes theatre theatre, and maybe even sell tickets across borders? They brought in two heavyweight Danish directors, Tue Biering and Christian Lollike, plus Ferryman Collective from LA (the people behind award-winning VR theatre like Welcome to Respite). The stage was VRChat.
I got the call because I’m a rare combination: a serious VRChat nerd and Unity developer who has also spent years on an actual stage. So I could translate between the directors and the tech, then go home and build the thing myself. No other developer on the project. Just me holding both ends.
I ran a design workshop with each director and we dreamed up two prototypes. Then I built both.
The Love Box (with Christian Lollike) drops you into a therapist’s office. A live actor plays the therapist and walks you through a series of dreamlike worlds: reshape your body, sit with desire, calm down, gather round a bonfire and sing. I was the ghost in the machine, hidden inside VRChat, swapping worlds and pulling strings live while the actor performed. Almost no custom build, all stagecraft.
Seven Scenes (with Tue Biering) was the heavy one: six custom worlds behind a single room with seven doors. I hosted it live, splitting people into groups. One group got sent to a secret control room where they could spy on and puppeteer another group, feeding them lines to perform while the performers had no idea they were being steered. To pull that off I hacked in a community voice-isolation system so I could control who could hear whom in real time, and built myself a stage-manager console to teleport people, mute them, and boost a voice on cue.
The kicker: I stood the whole thing up, both prototypes, in about two or three days. On test day I ran a group of eight, kept every headset alive, and performed live at the same time. It proved VR can genuinely give theatre new tricks (and a younger crowd), warts and all, and it’s now chasing funding to become the real thing.
Selected XR projects
A selection: I've shipped 25+ XR projects; here are ones I can talk about in depth. Eight-plus were EU-funded (2021–2029), and deeper case studies are rolling out. Sectors I've worked across: health and medical, education, cultural heritage, and space.
What I can build with you
Interactive VR/AR/MR experiences in Unity and Unreal, responsive, performed, built to run live.
Performance capture and tracked movement brought into real-time scenes.
EU-funded R&D across eight-plus programmes: prototypes, partners, and things that ship.
Installations and immersive moments for stages, festivals and brands who want a body in the loop.