Professional Lighting & Production - Summer 2019 | Page 21

keen awareness of the importance of consistent, compelling
visuals across all of their projects and properties, so of course
that would extend to the live environment. Gorton welcomes
and thrives on that challenge – of bringing fresh ideas of his
own into a well-established visual universe, branching into
new places from an existing aesthetic.
“I was blown away by the power of using nature as a
theme,” says the designer, reflecting on the Dance and Cry run.
“It offered so many unique possibilities. I’ve already used more
trees for another tour I’m out with now, this time with fixtures
built out of tree limbs.”
Beyond their striking look when intertwined with the
lighting and projection elements, he reinforces the idea of
reusing and recycling materials as being a major benefit of the
approach. “I hope there’s a future for this kind of design,” he
enthuses – “especially if it’s even just a reminder of how easily
things can be reused and recycled.”
But as Mother Mother proved on Dance and Cry, and as
Gorton proved in his design for the tour supporting it, the idea
of “recycling” doesn’t extend into the creative realm; both are
far more interested in pushing boundaries and creating new,
innovative, and compelling pieces of art.
GEAR AT A GLANCE
6 x Martin MAC Axiom Hybrid Beam/Spot
12 x Elation ZW19 LED Beam/Wash
6 x Chauvet Strike 1 Single-Source LED
Blinder
4 x Sanyo 5,000-Lumen Projector
2 x Triangle Media Server
4 x Martin Atomic 3000 DMX Strobe
1 x MA Lighting grandMA2 Command
+ Fader
Andrew King is the Editor-in-Chief of Professional
Lighting & Production.
Summer 2019 | 21