During a photography gig in 1989, Adem was first introduced to analogue and digital video art during the production of the ground-breaking Max Q ‘Monday by Satellite‘ music video.
That cultural and creative impetus saw Adem gravitate further toward [the] cutting edge experimental digital art with a fervour, initially via the legendary Amiga-500 computer and analogue video-feedback.
Then expanding the visual repertoire to incorporate lighting and laser; fusing these mediums into dynamic illuminated projection designs in various combinations over the years for the Blast Off, Psy-Harmonics, Every Picture Tells a Story and Earthdance, Pure, Machine dance parties, club nights and raves; and FRL, EGA, Big Day Out, Earthcore and Rainbow Serpent bush-doofs and festivals, as well as internationally for Infinite Frequency (LA), Tsunami (NYC) and Movement (MI) dance parties and festivals.
Work which embodies and explores esoteric concepts infused within the psychedelic, spiritual, scientific, socio-political and cultural paradigms that the highly influential Cyber and Rave culture had originally embraced and are still relevant today.
In collaboration with Cyber Dada and Don’t Shoot the Messenger, Adem was a seminal figure in the creation of the experimental Cyberthon video-art live-to-air broadcast events held at the RMITV studios, continuing at the TVU’s pop-up TV broadcast warehouse during the early to mid-’90s. The complete original mastered recordings have been digitised into the ACMI archives – Adem’s key involvement has been portrayed within VICE Magazine’s THUMP Rave Days documentary, VICE Creators Project article and the Techno Shuffle, book penned by Paul Fleckney.
From the mid to late nineties onward Adem also ventured into commercial-art, beginning as a 3D animator, then specialised in Compositing for TV series, TV adverts and Music Video.
The shape of sound is the defining and driving factor in the evolution of his craft!