Lysergic is my artist name — I'm Jasper Veldkamp. I work as an audiovisual and interactive-installation artist across TouchDesigner, projection mapping, reactive lighting, spatial sound and music production — building environments that pull people together rather than apart, a deliberate inversion of how most technology operates.

Before the installations there were the rooms themselves. I grew up in De Rijp, a small village north of Amsterdam, and got out in my early twenties. I studied at SAE and spent years on the technical side of events and theatre — stagehand first, then sound engineer, then lighting tech — producing music and DJing the whole way through. Everything I make now is downstream of that: I learned how a room holds a crowd by running it from the back.

The rest of my education happened in Amsterdam's squatting scene. I spent years there organising around immigration rights, queer and trans rights, and the housing shortage that made all of it visible in the first place. Empty buildings sat locked while people slept outside; that contradiction is still the thing I keep coming back to.

When squatting was banned in the Netherlands, the work didn't stop — it needed a new legal shape. So I built one, and founded Stichting Bildung: a framework for giving empty spaces a new purpose instead of simply taking them. We turned a former church into a home for ten people and a social and cultural centre for everyone else. Theatre groups without a budget rehearsed there. A giveaway shop ran out of one room; out of another, people on low incomes collected fresh produce that would otherwise have been thrown away.

The building filled up fast, with people from every background in the city. It worked because it was never organised around difference — not race, not culture, not religion — but around what people actually had in common: needing somewhere to be, and something to make.

I have a long history at Ruigoord — building projection mapping installations in the church, designing the visual environments for Wiltgroei and other parties held in the church and around the village. Beyond Ruigoord, my work has been shown at festivals including Berlin Atonal, where the intersection of experimental electronic music and immersive visual art is the central concern.

I live in De Punt, where I'm building a fully self-sustainable house — land, animals, and a workshop for designing audiovisual art. The same impulse that drives the installations runs through the house: build the room you want to live in, with your own hands, using what's around you.

Sól is a new direction: moving from projection (light on surfaces) to sculpture (light as object), and from reactive visuals (responding to a performer) to participatory interaction (responding to the audience itself). The core question stays the same — can technology bring people closer together instead of pushing them apart?

For the physical build of Sól, I'm working with kikvors, a collective of makers, programmers and performers active across the Netherlands, who supported fabrication, install and performancethe opening-night performance.