Ugochukwu David Ogbuehi describes himself as a “creative technologist, producer, and immersive artist” whose work aims to “challenge the conventions of live performance and build experiences that are radically inclusive.”
Currently completing a Master of Arts degree in Art and Emerging Technologies at the University of Westminster, he is focused on what he calls a “big-picture vision: to build an international creative practice that sits at the forefront of immersive art and accessible design.” His goal is to establish a studio that pioneers new forms of sensory storytelling and collaborates with global institutions, with the ambition of shaping “a future where the emotional and physical impact of art is accessible to all.”
His most recent project, Fear & Faith II, combines projection mapping, Unreal Engine, and sound design in what he describes as “a statement–a vision of what the standard could be in 10 or 15 years, where live music is not just heard, but fully experienced.” The immersive installation explored mythology, trauma, and resilience while also experimenting with accessibility for d/Deaf and hard-of-hearing audiences.
Ogbuehi and his collaborators used calibrated subwoofers to create tactile vibrations across the space, allowing audiences to physically feel the music. “The audience response was incredibly positive,” he says. “Several people mentioned that it made them feel truly present at the performance. It wasn’t just a technological gimmick; for many, it was a profound experience.” This exploration of haptics, he explains, is not just about accessibility but about enhancing collective experience: “We learned that this isn’t just a solution for accessibility–it’s an enhancement for everyone.”
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Ogbuehi’s practice is grounded in his background in live music and events. He has produced concerts, created marketing strategies for The Columbo Group, and worked with institutions including the Southbank Centre and Boundless Theatre. He views this history as essential to his current work. “I don’t think you can design effective technological experiences for live events unless you deeply understand the traditional ones first.
My entire approach is shaped by my journey, which really began in the crowd. As a lifelong music fan, I’ve spent years attending countless shows, and each one felt like an opportunity for observational research.” This grounding informs his creative process today. “I’m using technology not to replace that magic, but to enhance it and create even deeper connections for everyone involved,” he says.
Collaboration also sits at the core of his practice. He describes it as “the engine that brings my ideas to life.” From co-curating the Little Simz-curated Meltdown Festival at Southbank Centre in 2025, to building community workshops with Boundless Theatre that same year, both as part of his multidisciplinary London collective TCMO (The Collective Members Only), he emphasizes the value of collective input. “You can never see a project from every angle on your own.”
Collaboration allows me to tap into skills and expertise I don’t have. It also serves as a crucial check on my own work and holds me accountable. When I’m collaborating with people I respect, it pushes me to do better.” Community engagement has also shaped his methods. In earlier projects with local councils and cultural bodies, he learned to make art accessible to diverse audiences. “The social impact is the destination, and creative experimentation is the vehicle we use to get there.”
As he looks to the future, Ogbuehi identifies cost as the greatest challenge facing immersive and accessible work. “Immersive, haptic-enabled environments are incredibly expensive to build. If we simply scaled up what exists today, ticket prices would become inaccessible for the very audiences we want to reach.” His solution is innovation.
“We are focusing our research and development on finding cost-effective and environmentally friendly solutions. Our goal is to create a minimum viable product that can be shipped globally, allowing us to bring these experiences to cultural hubs from London and New York to Lagos and Accra.” By lowering costs, he believes immersive work can reach new audiences and play a vital role in cultural accessibility worldwide.
From sound design and music production to immersive installations and cultural programming, Ogbuehi’s career continues to span multiple disciplines. Yet he insists that the thread tying his projects together is simple: “Ultimately, I want to leave a lasting legacy, and I’m using creative tech as the means to achieve that goal.”
