Floating tryptych design by Carlos Johns-Dávila with interactive mocap system to navigate 360º video and surround audio with gesture control for Psalm for the Mismemoried by Cara Page & Philip Sanchez.


Way Too Far XR is a creative studio specializing in audiovisual design, immersive production, consulting, and hands-on workshop training in XR (extended reality) and interactive media. Founded by Carlos Johns-Dávila, a Peruvian American multimedia artist and composer, the studio develops tech/art installations, performances, and educational experiences that blend technology, storytelling, and cultural research. Based in New York City and working out of Prime Produce Apprentice Cooperative, with projects extending to Philadelphia, Carlos also serves as a co-owner of Black Heart, bringing a collaborative, community-driven approach to every project.

Contact
cjohnsdavila@gmail.com
IG: @carlosjohnsdavila

Oct, 2025The Next TiMeS
Kinect Light Dance Co.
NYC
Projection Design by
Carlos Johns-Dávila & Katherine Freer

For The Next Times by Kinetic Light, my approach to projection design centered on accessibility as a creative driver. I developed visuals that operated at multiple viewing heights to ensure visual focus for the levels of focus the cast members occupied, while intentionally avoiding strobe-based effects in favor of smooth, continuous motion. The visual language combined found footage with custom GLSL shaders, creating an adaptive system that responded to the performers while remaining inclusive to audiences with diverse sensory needs. This process reflects my broader approach: designing immersive environments that prioritize embodiment, access, and responsiveness from the ground up.

Laurel Lawson, Alice Sheppard, Tatiana Cholewa are navigating across a dark stage with projections of illuminated ropes drawn down the stage and their bodies.
The performers have disappeared into the silver towers which now wriggle, bounce, swirl, and shimmy — a flurry of fringe, feet, wheels, and mystery. The background swirls in purple, blue, and green. Photo: Cherylynn Tsushima
The Next TiMes © Cherylynn Tsushima | Laurel Lawson holds their body in a diagonal line as they balance atop Alice Sheppard’s wheels and shins. Alice supports from below as they lay back, arms and torso on the ground, hips lifted. Alice is a multiracial Black woman with short curly hair, Laurel is a white person with very short cropped hair; they both wear shimmery sleeveless bodysuits. Behind them, a projection of soft blues, purples, and greens looks like rain on a windowpane.
The Next TiMes © Cherylynn Tsushima | Laurel Lawson holds a hoop which is reflected on a video projection behind her against a starry background.
The Next TiMes © Cherylynn Tsushima | Kayla Hamilton stands on a reflective strip of silver, chin lifted as she arches her torso backwards, arms curved in front of her chest. Alice Sheppard sits on one end of the silver floor, torso folded into her own lap. Laurel Lawson lays on their back at the other end of the silver. Alice is a multiracial Black woman with short curly blonde hair; Kayla is a Black woman with shoulder length locs; Laurel is a white person with cropped hair. All three dancers wear dark shimmery bodysuits, a detailed video projection of a huge luminescent moon and a dense forest drenched in hues of cool blues and rich purples fills the background.
Laurel Lawson lays flat on the floor and holds Alice Sheppard at the shins lifting her above in her wheel chair. Alice supports herself with her arms and makes eye contact with Laurel. Against the dancers is an innocous blue projection made with painted film.
Laurel Lawson lifts a hoop that surrounds her. The background is a projection of a colorful aberration of a starscape.
The Next TiMes © Cherylynn Tsushima | Four performers dressed in silver, with black caps, pause with their backs to the audience, three people in chairs and one standing. They gaze at four shimmering towers of silver fringe.
Alice Sheppard leans on her crutches as she balances on one bent leg while lifting the other high. She leans forward, also balancing a silver hoop on her neck and shoulders, as she looks in the direction of the lifted leg, a mischievous expression on her face. Alice is a multiracial Black woman with magenta curly hair; she wears silver pants and a dramatic vest of black feathers.  Behind her, Tatiana Cholewa sits on the floor in a silver hoop, bending at the waist and folding their body in half. Tati is a white person with very short hair, they wear a silver sleeveless pantsuit. Behind them both is a large flowing orange planet in a starry sky. Photo: Cherylynn Tsushimadffg


Sept, 2025Emerging Technology & Storytelling Residency + Summit
Shangri-La Center for Isalmic Culture, Art & Design
HI
Workshop & Consultation by
Carlos Johns-Dávila



During the Emerging Technology & Storytelling Residency at Shangri La in Honolulu, my work explored how immersive media can deepen access to cultural heritage through experimentation, dialogue, and place-based collaboration. Engaging with Shangri La’s art collection and Hawaiʻi’s local creative community, I developed prototypes and research-driven concepts that bridged accessibility and cultural exchange. As part of this exchange, I led a workshop at Honolulu Tech Week 2025 titled Bodies as Interfaces: Interactive Media with Computer Vision, introducing participants to low barrier motion tracking as a creative tool for exploring consent in XR, accessibility, & cultural representation in performance.



January, 2025Against Gravity: Flying Afrikans + Other Urban Legends Renegade Performance Group
NYC
Projection Design by
Carlos Johns-Dávila

For Against Gravity: Flying Afrikans + Other Urban Legends by Renegade Performance Group, conceived by André M. Zachery, my projection design approach focused on supporting a personal and historical exploration of Black masculinity through layered visual storytelling. Drawing from archival imagery, text, and abstracted motion graphics, I created a visual environment that moved between memory, geography, and myth—echoing the performer’s journey from 1980–90s Chicago to the legacies of figures like Fred Hampton, Ben Wilson, and Harold Washington. The projections functioned as both landscape and psychological space, integrating poetry and historical resonance to expand the narrative beyond the body and into a collective cultural memory.



June, 2025There Goes Nikki Michèle Stephenson, Joe Brewster, idris brewster, Kinfolk Tech, Rada Collaborative
NYC
Sound Design by
Carlos Johns-Dávila, Samora Pinderhughes, Christopher Pattishall

For There Goes Nikki, an AR experience by Idris Brewster, Michele Stephenson, and Joe Brewster, my approach to audiovisual design centered on translating poetry into an expansive, spatial experience. Built around the voice and words of Nikki Giovanni, the piece layers a cosmic visual environment with responsive sound and motion to guide audiences through themes of Black memory, imagination, and liberation. I developed visual systems that treated poetry as a portal—using scale, abstraction, and immersion to extend Giovanni’s language into a shared, embodied journey. Presented as part of Tribeca Immersive 2025: In Search of Us, this work reflects my approach to XR as a medium for honoring cultural legacy while creating new dimensions for storytelling and collective reflection.

March, 2025Unsorted Depths Choreodaemonics Collective
NYC
Projection Design by
Carlos Johns-Dávila



For Unsorted Depths, developed during a PillowLab residency at Jacob’s Pillow with the Choreodaemonics Collective, my projection design approach focused on visualizing the archive as a living, unstable system shaped by memory, loss, and embodiment. Using my own found footage of the Jacob’s Pillow environment—trees, architecture, and archival textures—I created a layered visual field that merged site-specific imagery with generative processes, including interpolation and noise-based abstraction. The projections operated as both landscape and presence, dissolving and reforming alongside the performers and robotic elements to reflect the tension between preservation and entropy.

Aug, 2025Psalm for the Mismemoried Written & Directed by Cara Page with VR filmmaker Philip Sanchez 
NYC / GA
Sound, Projection & Exhibit Design by Carlos Johns-Dávila

For Psalm for the Mismemoried my immersive sound design approach centered on creating a sonic bridge across time, ancestry, and place. Drawing from Peruvian instruments rooted in my heritage, alongside found sounds and materials such as goat hooves for hollow, ritual-like textures, I built an auditory landscape that echoed the act of communication between realms. Beyond sound, I expanded the work from a 360° VR film into a three-panel, motion-tracked installation, allowing audiences to engage with the piece outside of a headset and on their own terms—an intentional design choice to support consent and accessibility when navigating difficult histories. Integrated with choreography, the motion-tracked interface connected viewers to the character’s journey without gamifying the experience, reinforcing my approach to immersive design as a balance of embodiment, cultural memory, and ethical audience engagement.


Jul, 2024Distance Anatomy Skopteur
NYC / London
Projection Design by
Carlos Johns-Dávila



For Distance Anatomy, developed with Vytautas Niedvaras, my projection design approach centered on enabling real-time, transnational collaboration through responsive visual systems. Using motion tracking and low-latency networked data, performers in London and New York City were able to influence each other’s visual environments—sending movement data across space to generate and manipulate projections in real time. The result was a shared visual field where distant bodies could meet, overlap, and co-create, transforming projection into a live interface for connection and improvisation. This work reflects my approach to projection design as a relational system—one that extends embodiment beyond physical proximity and uses technology to build new forms of presence, collaboration, and storytelling across distance.


June, 2024DEMO 2024 New Inc - XR Track
NYC
Produced by Carlos Johns-Dávila



For DEMO 2024: Building Resilient Realities at NEW INC, my producing approach focused on supporting a diverse cohort of XR artists in realizing technically complex, conceptually ambitious installations within a shared exhibition environment in New York City. Working with seven artists across VR, projection mapping, motion tracking, interactive games, and multimedia installation, I coordinated spatial design, equipment sourcing, and technical workflows to ensure each piece could operate cohesively within the constraints of the venue while maintaining its artistic integrity. The exhibition, curated by Danielle McPhatter, explored themes of resilience, regeneration, and alternative technological futures—reframing XR as a tool for reflection, care, and collective imagination. This work reflects my approach to producing as both infrastructural and creative: building the conditions for artists to experiment, collaborate, and present immersive work that challenges dominant narratives around technology and connection.

Aug, 2023Duende: A Live Video Opera Carla Canales & 
Carlos Johns-Dávila
NYC
Projection Design by
Carlos Johns-Dávila



For Duende: A Live Video Opera, inspired by the writings of Federico García Lorca and created with vocalist Carla Canales, my projection design approach centered on visualizing the emotional intensity and cultural depth embedded in Lorca’s concept of “duende.” Drawing from Latinx cultural motifs, archival textures, and abstract video compositions, I developed a live visual system that moved in dialogue with the music—amplifying themes of soul, darkness, and transformation. The projections functioned as an expressive extension of the performance, shifting between intimacy and spectacle to support a reimagining of Canciones Antiguas through a contemporary, diasporic lens. This work reflects my approach to projection design as a way of translating cultural and emotional resonance into immersive, time-based visual environments.



Jun, 2023Illumination: Tracing the History of Black Economics of America
Black Heart
NJ
Projection & Interaction System Design + Original Score
by Carlos Johns-Dávila

For Illumination: Tracing the Path of Black Economics in America, commissioned by the African American Chamber of Commerce of New Jersey for their Black Business Expo, my approach combined projection design, original score, and interactive system design to create an engaging, educational experience. The installation used touch responsive visuals and stop-motion-inspired animation by Rozzdower to guide audiences through key moments in Black economic history, transforming historical timelines into a living, participatory environment. My original score underscored this journey, reinforcing rhythm, movement, and continuity across generations. The interactive system—best described as a touch-activated narrative interface—invited users to physically navigate and activate the content, emphasizing embodiment as a way of learning. This work reflects my approach to immersive design as a tool for public education, where storytelling, interactivity, and cultural history converge to make complex narratives accessible and impactful.



April, 2022Red Summers VR Bayaté Ross Smith
NYC
Sound & Exhibit Design by
Carlos Johns-Dávila



For Red Summers, created by Bayeté Ross Smith and published with The Guardian, my approach to sound and exhibit design centered on grounding audiences within a difficult and often overlooked history through spatial and sensory awareness. I developed an immersive audio environment that combined archival references, environmental sound, and subtle compositional elements to evoke the weight and continuity of racially motivated violence across locations like Tulsa and Chicago. In parallel, I designed the physical and spatial experience of the installation to support reflection, guiding audiences through the 360° episodes in a way that emphasized connection across time rather than isolated events. This work reflects my approach to immersive design as a tool for historical reckoning—using sound and space to create conditions for presence, context, and critical engagement with the past and its ongoing impact.

Red Summers installation for “Au-dela des apparences”, Centre de la Photographie Mougins, Cote d’Azur, France
Red Summers installation for “Au-dela des apparences”, Centre de la Photographie Mougins, Cote d’Azur, France


Dec, 2022Suga’Valencia James + Glowbox.io
remote
Original Score & Sound Design
by Carlos Johns-Dávila



For Suga’, a live volumetric dance performance by Valencia James in collaboration with Glowbox.io, my approach to sound and spatial audio design centered on translating the historical weight of the Transatlantic Slave Trade and the sugar industry into an embodied sonic experience. Presented at Sundance Film Festival 2022 as part of the New Frontier exhibition, I created an original composition that integrated spatialized sound to move with the volumetric performance, surrounding audiences in a dynamic acoustic environment. The score balanced abstraction and historical resonance, using rhythm, texture, and spatial movement to deepen the emotional and physical impact of the work. This project reflects my approach to immersive sound as a narrative force—one that situates the audience within layered histories and transforms listening into a spatial, affective experience.

Oct, 2020While You Wait...2.0Carlos Johns-Dávila & Navarra Novy-Williams
NYC
360º Film & Editing + Original Score
by Carlos Johns-Dávila



For While You Wait… 2.0, supported by Lower Manhattan Cultural Council and Upper Manhattan Empowerment Zone, my approach combined immersive sound design and composition to deepen a site-specific 360° video dance experience rooted in isolation and connection. Created for Inwood Hill Park, the work invited audiences into an open-ended narrative shaped by performers’ interpretations of community during lockdown. I developed an ambisonic score using field recordings from the park, transforming natural sound into harmonic structures that embedded the environment directly into the piece. This work reflects my approach to immersive media as a way of amplifying place—using sound, movement, and spatial storytelling to foster connection, even within conditions of distance and separation.