Melding Art, Technology and Humanity for Anyma’s Sphere show

The groundbreaking residency, “Afterlife Presents Anyma: The End of Genesys,” marks a significant moment as electronic music merged with cutting-edge visual artistry at Sphere in Las Vegas. Helmed by celebrated show designer Alexander Wessely, this production plunges audiences into a mesmerizing world where physical and digital realities collide. The sensory spectacle redefines creative expression while exploring existential questions about the nature of existence and our relationship with technology.

This historic production marks the finale of a project by Anyma, the solo project of DJ and producer Matteo Milleri and is the first electronic artist residency to take over Sphere’s iconic 16K LED canvas. Showcasing towering 6.5-meter monoliths with robotic cellists, interactive quantum computers, and breathtaking digital visuals, the residency epitomizes innovation.

Fresh off witnessing the performance live at Sphere in Las Vegas, we sat down with Wessely, and through an intimate conversation, Wessely opened up about the creative process, philosophical inspirations, and intricate collaboration that brought this one-of-a-kind experience to life.

Blurring the Tangible and the Illusory

At the heart of the production lies Wessely’s philosophy of dissolving the line between what is real and what is imagined. Reflecting on how the project began, Wessely shared how his first meeting with Anyma in April 2024 became the genesis of his creative vision. “He had already started the architecture of this world, this world of Genesys,” Wessely said. “Hearing his thoughts and ideas behind the scenes triggered a lot in me that I really did not expect.”

That initial spark inspired Wessely to explore themes central to his artistic philosophy, such as the tension between human and machine, reality and illusion. “The Sphere itself, the canvas of the Sphere, became the trigger to create a show that could only live in this space,” he explained. “It’s a space based on machinery, AI, and technology. Adding a human touch or a layer, and approaching it the way I approach photography or film production or sculpture, brought something way more man-made and personal into this mess of technology and machine.”

This delicate interplay of humanity and technology is not just a feature of the show but a fundamental part of Wessely’s creative identity. “I really care about the weight in whatever it is that I do. If I can’t create something that stays with you, then I don’t want to create.”

Crafting in the Face of Immense Expectations

Wessely’s impressive track record working with global icons like Swedish House Mafia, The Weeknd, Rihanna, Drake and Grimes prepared him for this moment. Still, the challenges of designing for Sphere were unlike any he had faced before. “For some, the Sphere is the pinnacle of a visual canvas in a commercial space,” he said. “But the opportunities come with risks. Every mistake is 100 meters wide, and the execution needs to be flawless.”

His previous collaborators have shaped not only his technical expertise but also his creative ethos. “They’ve all been a part of shaping me as an artist, me as a human almost too,” he said. Reflecting fondly on his work with Grimes, he described her as “a creative force, a philosopher, an inspiring human.”

The Dance Between Physical and Digital

Wessely’s ability to seamlessly integrate physical and digital realities lies at the very heart of The End of Genesys. The production includes elements like 6.5-meter transparent monoliths, two stages of robotic cellists  flanking the third and central monolith,  an interactive quantum computer light installation that serves as both a symbolic and a visual centerpiece as  Anyma’s “DJ booth.” For Wessely, the process of merging these elements was made possible by the exceptional team of digital and visual artists he worked with.

“I had the amazing privilege of working with very talented visual artists, digital artists, 3D artists, and they made this process and this work go quite smoothly for me,” he said. “I love when you question yourself, ‘Is this digital? How is it made?’ And then you pull back, and you’re in the physical space again.”

“Some of the digital characters in The End of Genesys were part of Anyma’s world long before I joined the project, like Eva, the main robot crushing the glass. Matteo [Anyma] only started creating this world about four years ago. A lot of the newer works, though, are the ones that resonate most with me—especially the pieces where we incorporated real humans into the characters like we did with Grimes and FKA Twigs. My favorite moment is a piece in the show where we see a wall of humans that slowly starts rotating into a massive hole as the roof opens up, revealing thousands of humans moving through space. That particular piece was one of the first we developed and is rooted in my sculptural work.”

Collaborative Innovation

Wessely worked closely with a roster of creative contributors, including Studio Drift and Keinmusik’s Rampa. An idea that emerged naturally around the “quantum theme” culminated in a stunning piece involving Grimes interacting with a quantum computer. “Ralph’s name came up quite naturally in the conversation, especially around the quantum theme. They are doing a lot of work merging technology and nature,” he shared about his collaboration with Studio Drift’s Ralph Nauta. Wessely imagined her “flirting and seducing” the computer as nature grows out of it, transforming the space in real-time. This audacious vision symbolizes the interplay of organic and synthetic forces in our evolving world.

Exploring Existential Themes

Beyond the technical achievements, The End of Genesys challenges audiences to reflect deeply on themes of human existence and evolution. “A theme I’ve been exploring, based on the human experience, is a concept I call Kortex, an outer shell. I’ve been wanting to peel the cortex or outer shell of the human to show the human experience,” Wessely shared.

Wessely conceived an exhibition that was presented at Fotografiska Stockholm in a further exploration of humanity’s innate tendency to revere and idolize humans. Kortex was a compelling blend of marble sculptures, immersive video art, and dynamic light and sound installations,  featuring a marble statue of The Weeknd and an original sound work created in collaboration with the singer and rapper, 070 Shake. The exhibition is part of Wessely’s evolution from photography into photographic sculptures and then marble. Through works like these, Kortex strips back societal veneers to probe the raw, unfiltered core of human emotion and connection.

For the artist, provoking deep and sometimes uncomfortable emotions is part of the goal.

The use of robotic cellists performing live compositions by acclaimed Swedish composer Jacob Mühlrad, embodies the duality of human and non-human elements in the production. “It’s obviously controversial to use robotic cellists as they remove all human factors from the actual music, even though they’re made by humans and programmed by humans,” Wessely said. “But seeing them push the boundaries of what’s possible and exploring what robots can actually do is fascinating.”

Redefining What Art Can Be

For Wessely, this project represents an evolution not only in his creative practice but also in how audiences experience art. “I came to a point in my career where I stopped going into a project with a medium in mind,” he explained. “I’d rather go into a project and choose the medium after the project. What’s happening now will redefine what we’re creating in art itself.”

This boundary-breaking approach ensures that The End of Genesys is more than just a show. It’s a statement about the intersection of culture, technology, and storytelling in the digital age. “I hope this creates something that pushes the limits of human experience,” Wessely said. “That it lasts, that it resonates.”

A Legacy for the Digital Age

Afterlife Presents Anyma: The End of Genesys is more than a concert or a visual spectacle. It’s an odyssey into what it means to exist in the 21st century, a time when technology and humanity are so intertwined that the lines begin to blur. With the ingenious use of robotics, AI, and immersive visuals, this production elevates Sphere to its full potential, creating a profound intersection of art, philosophy, and innovation.

For Alexander Wessely, the show is an opportunity to leave audiences questioning, reflecting, and feeling something unforgettable. “The impact stays within the space,” he said, “but it has the power to linger in those who experience it long after it ends.” A celebration of art’s potential to transform, this residency cements itself as a creative milestone for the digital age.