Sphere Las Vegas

The End of Genesys — Visual Co-Creative Direction

The Production

There is no building like it on Earth. The Sphere Las Vegas rises from the desert floor like a displaced planet — 366 feet tall, 516 feet wide, clad in 580,000 square feet of programmable LED. Inside, the world's highest-resolution wraparound display curves above, beside, and beneath you, fed by a spatial audio system of such precision that a whisper can be placed in the room like a physical object. This is not a venue. It is a sensory instrument. And in December 2024, it became the stage for "Afterlife Presents ANYMA: The End of Genesys" — the first electronic music residency ever held inside it.

The production did not simply occupy the Sphere. It consumed it. Every pixel of the interior display became narrative real estate. The spatial audio did not accompany visuals — it entangled with them, sound and image operating as a single organism. For the audience, the distinction between watching and inhabiting collapsed. You were not at a show. You were inside a world that someone had built, frame by frame, over the course of four years.

Alessio De Vecchi served as Visual Co-Creative Director, overseeing art direction for the entire production. This was not a role created for the Sphere. It was the same role he had held since the partnership began, built on characters and a visual language he had been developing independently since 2018. What changed was the canvas. Working alongside Matteo Milleri, Alexander Wessely as head creative and stage designer, and animation studio Woodblock, De Vecchi's visual system — developed since ANYMA's inception — was stress-tested against the most unforgiving display technology ever constructed. It did not bend. It scaled.

The pipeline was brutal. The Sphere's technical constraints are unlike anything in live entertainment. Every frame must be rendered at a resolution that accounts for the curvature of the display, the viewer's proximity, and the integration of spatial audio cues that are themselves tied to visual events. There are no standard workflows for this. There are no templates. You build the pipeline as you build the show, and every constraint reveals three more. De Vecchi did this remotely from Ibiza, often working through the night, shipping assets across time zones against deadlines that did not negotiate.

Official Credit

Sphere Entertainment Co. — the company behind the $2.3 billion venue — credits De Vecchi by name and title in its official production statement.

Variety Coverage

Variety's January 2025 profile placed De Vecchi at the center of the production alongside Milleri and Wessely, detailing a working process that was physically demanding and technically unprecedented.

Third-Party Validation

Alexander Wessely — the head creative and stage designer who joined the project in April 2024 — independently confirmed De Vecchi's foundational role across three separate publications: Flaunt Magazine, Office Magazine, and Document Journal.

Wessely confirms the Genesys concept was developed by Milleri and De Vecchi before his arrival in April 2024.

"All led by." De Vecchi led the VFX work for the most technically demanding LED display on the planet.

Matteo Milleri — Direct Acknowledgment

Creative Team

Role	Person	Scope
Visual Co-Creative Director	Alessio De Vecchi	Art direction, visual identity, character design, VFX direction
Head Creative & Stage Designer	Alexander Wessely	Executive production, stage design, set construction
Animation Studio	Woodblock	Additional animation production

The Visual System

The Sphere did not receive a new visual package. It received the culmination of a visual system whose roots trace back to De Vecchi's independent work from 2018–2020, evolving under pressure across every ANYMA production since. Every character — EVA, ADAM, LILITH, SYREN — every texture philosophy, every lighting decision, every frame of the Genesys narrative arc had been forged across dozens of shows in venues of increasing scale. Printworks. Arenas. Festival main stages. Each performance was a stress test, each iteration a refinement. By the time the Sphere residency began, the visual language was not a concept. It was a proven, battle-tested system with the internal coherence to fill 580,000 square feet of LED without a single seam showing.

The characters De Vecchi created did not just appear inside the Sphere. They owned its exterior. EVA was the face of the Sphere Exosphere — the massive outer LED display that dominates the Las Vegas skyline, visible for miles across the desert. When ANYMA announced the residency on July 15, 2024, the post featured EVA wrapped around the building like a deity surveying her city. It received 1.1 million likes. ADAM followed, appearing on the Exosphere as part of the residency campaign. Two characters whose origins trace to De Vecchi's working files from years before ANYMA were now the most visible pieces of digital art on the planet — 300 feet tall, burning against the Nevada night, seen by every arriving flight and every car crawling down the Strip.

This is what a visual system built with intention looks like at terminal scale. Not a mood board stretched to fit. Not a style guide applied after the fact. A living, expanding visual universe conceived from day one to carry narrative weight — and when the world's largest screen finally existed, it was ready.