NOW Art’s Carmen Zella spoke with Panasonic at CODAsummit, an annual public art conference held by Codaworx. They discussed their collaboration on LUMINEX, a digital public art installation in Downtown Los Angeles. 

Below is a transcript of the talk:

Panasonic: There we go. I’m the Director of Sales for our projector and display division. Today, we’ll be talking about digital art and the ways we’re working in the community, especially through our partnership with Carmen Zella.

At Panasonic, we foster innovation and community by supporting art installations such as Blink, CODA, and other projection mapping events. A few years ago, we began working with Carmen in Los Angeles, and it’s been a fantastic collaboration. She has created a wonderful event showcasing digital art and projection mapping. We couldn’t be happier to partner with her.

Carmen, would you like to share more about NOW Art and NXT Art?

Carmen Zella: Hi, everyone. I’m Carmen Zella, founder of NOW Art. We also run a 501(c)(3) called NXT Art, which allows us more creative freedom to develop projects we’re passionate about.

This is a collage of LUMINEX, the project we created with Panasonic. LUMINEX was born during COVID, at a time when museums and galleries were closed. That moment created new opportunities for projection art and immersive public experiences.

I’m originally from Montreal and have a background in theater, inspired by Peter Brook’s The Empty Space. My work focuses on how art and technology can create live, emotional experiences for audiences. With LUMINEX, we wanted artists to push boundaries by integrating dance, AR, live music, and large-scale projections.

In Los Angeles, where most people drive to specific destinations, LUMINEX created something different: a walkable nighttime experience in downtown alleyways. It drew over 25,000 people from across all demographics, including members of the unhoused community, who not only watched but actively participated.

We collaborate with curators and institutions like LACMA to bring museum-level artists into public spaces. For example, Carole Kim worked with Panasonic to project onto buildings and the ground, integrating drones and live musicians into a fully immersive performance.

Of course, there are challenges, including limited infrastructure, navigating permits, negotiating with parking lot owners, and balancing competing events nearby. However, we prioritize accessibility through ADA compliance, multilingual considerations, and unifying themes.

In 2022, we received support from Mayor Karen Bass, who highlighted LUMINEX as a cultural showcase ahead of major events like the Olympics and FIFA World Cup. The project generated significant economic impact for the city and benefited small businesses.

Looking ahead, LUMINEX will return in 2026 as a biennial exhibition, expanding across multiple locations in Los Angeles. With the Olympics and World Cup approaching, we are seeding projects that merge art and technology throughout the city.

Panasonic: That’s incredible. Two quick questions. First, when working with manufacturers and production companies, how do you bring those elements together?

Carmen Zella: It starts with curation. Partnerships like Panasonic are invaluable because they help us understand the technological tools available. Artists can then view technology as part of their toolkit, like a paintbrush, shaping how they execute their ideas. This collaboration sparks innovation on both sides, inspiring both creatives and manufacturers.

Panasonic: And with the 2028 World Cup in Los Angeles, what is your vision for projects like LUMINEX?

Carmen Zella: Collaboration is key. Soccer and the Olympics are deeply emotional and physical experiences, and our goal is to curate art that harnesses that human energy. We want to create multi-city, multi-site experiences that connect civic leaders, artists, and communities, building cultural moments as powerful as the events themselves.