Studio Phantastica

Information

Welcome to the wonderful world of Studio Phantastica. This space represents the culmination of five and a half years of my doctoral research into the spatialities and space-making practices of contemporary psychedelic-assisted therapy.

As a living extension of the research-creation practices that inform my exegesis, this website functions as a tool for space-makers, professional designers, everyday designers, spatial thinkers, psychonauts, and therapy providers. Whether you are a formally trained architect or an everyday space-maker, this platform is for anyone actively engaged in shaping environments for psychedelic care.

When you explore the main page, you will encounter a series of floating fields of colour. These are what I call 'offerings for practice' - critical orientations that have emerged through my research as deeply important ideas for space-making. Representing my core contribution to design practice, these offerings are intended to provoke new ways of thinking about the spaces and spatial practices associated with psychedelic-assisted therapy. By clicking on each offering, a pop-up box will reveal its central provocation.

Mapped across these fluid offerings is a radial dial of sixteen distinct projects, illustrating the fullness of the creative outcomes generated over the course of this work. Each number opens into a specific undertaking, taking you to a project page that contains more information about its context, timing, and execution, along with the photographs, sketches, and writings produced along the way.

This interface can be navigated in multiple ways. You can explore projects directly through the dial, or click on specific offerings to see their directly associated projects rendered in colour. Alternatively, you can navigate using the three design approaches located on the top navigation ribbon. These approaches act as frameworks for engaging with the offerings and projects:

Practice

This approach asks how your design practice itself can become inherently psychedelic, moving across different perceptual registers while navigating the practical realities of our work.

Sites

This approach explores where design might actively intervene within the psychedelic-assisted therapy assemblage and across the psychedelic surround to support the therapeutic encounter.

Materials

This is an approach to designing that asks us to rethink our assumptions about the physical world, treating the materiality of space-making as a vibrant, precarious ecology that actively participates in the therapeutic experience.

These offerings, design approaches, project outcomes, and creative practices are intended to sit alongside the central concept developed during my PhD research: the psychedelic surround. I developed this term to articulate the field of multi-temporal and multi-sited spatial conditions that emerge alongside the psychedelic-assisted therapy encounter (Conrick, 2026, p. 8). Reading these elements together expands our understanding of what is both designed and designable within the context of contemporary psychedelic-assisted therapy.

Thank you for taking the time to explore my work.

Projects

01

Collected Comforts

02

Caritas Christi

03

Sinking/Feeling

04

Scrim

05

Doing Research Together

06

PsiConnect

07

Experiments in Walking

08

Dermographies

09

PSIKEA: Extending the Sensorium

10

Impressions

11

Asanapy

12

The In-between

13

Swinburne

14

Encountering Atmospheric Elements

15

The Tomorrow Party

16

Tanglework

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

Caritas Christi, image 1 of 8 1/8
Caritas Christi, image 2 of 8 2/8
Caritas Christi, image 3 of 8 3/8
Caritas Christi, image 4 of 8 4/8
Caritas Christi, image 5 of 8 5/8
Caritas Christi, image 6 of 8 6/8
Caritas Christi, image 7 of 8 7/8
Caritas Christi, image 8 of 8 8/8

Caritas Christi

Over several months in early 2022, I engaged in a series of fieldwork encounters alongside Dr Marg Ross and Dr Justin Dwyer during their clinical trial investigating psilocybin for end-of-life distress at St Vincent’s Hospital’s Caritas Christi campus. The purpose of these visits was to observe, interview, and document their space-making practices as they set up and packed down the treatment room. Through video recordings, written notes, sketches, and short sensory poems, I documented both my observations and my sensory experiences. Crucially, this fieldwork became the first active exploration of what would become my core methodological suite of attunement methods: resonance practices, deep listening, and active noticing.

My experience with this research broadly is that in every project, there is what you think you are doing and then there is what actually happens. My original intention was to focus on the material practices and objects deployed within the clinical room. However, over the course of my time at Caritas, my attention shifted toward the mutuality of the P-AT encounter. The sheer intensity of the experience in that room is carried by everyone present, just in different ways. The profound vulnerability of the participant demands an equally profound level of physical and emotional endurance from the therapist. The giving and receiving of care becomes a deeply entangled, shared weight, requiring constant physical adjustment between the bodies and materials in the space.

Dr Marg Ross described the non-verbal connection that gradually developed between her and Justin over the course of the trial:

"So, we do have this sort of dance, and it’s a lovely kind of way of knowing when one of us is in the foreground or the background. And sometimes both of us are in the foreground as well. We’ve certainly had times where a participant has reached out for both of us, called out our names, and held our hands. And we’re on either side, just holding their hands through this experience. In a really lovely way, it’s become more nonverbal" (Ross, 2022).

Marg’s use of the language of dance introduced a critical sense of dynamism to my understanding of the way care moves in clinical spaces - flowing through people, objects, and the spaces between and around them in multiple directions simultaneously.

Paying attention to the flows of care offers immense value when thinking spatially. First, it acts as an inherently egalitarian lens, demanding that spatial consideration is paid to all the bodies in the room. Second, it introduces a vital sense of movement into space-making practices. For spatial designers, it leaves us with an open, unresolved challenge: how do we create environments that actively hold the bodies engaged in caregiving and care-receiving, while simultaneously building enough looseness and flexibility into the room to allow those continuous, entangled flows of care to occur unhindered?

Attunement

2021

Library

Georges Perec, "Species of Spaces and Other Pieces"

In his essay The Bed, Georges Perec describes the bed as "the individual space par excellence, the elementary space of the body (the bed-monad)". He points out that it is one of the rare places where we adopt a horizontal posture, surrendering our upright orientation to the world.

This conceptualisation of the bed was profoundly helpful during my fieldwork at the Caritas Christi Hospice. In the psychedelic therapy room, the bed is a paradoxical object. It is a piece of domestic furniture sitting uncomfortably in a clinical space, operating as a "queer anchor" for a vulnerable body. By thinking with Perec, I was able to see the bed not just as a passive prop, but as an active, relational participant in the therapy. The bed holds the physical body as the mind wanders, becoming a shared interface that structures the ongoing, delicate choreography of care between the caregivers and the cared-for. It helped me realise that to understand the spatialities of psychedelic care, we have to look closely at what unfolds at the exact site of the mattress.

Anne Carson, "Autobiography of Red"

"Geryon sat on his bed in the hotel room, pondering the cracks and fissures of his inner life" (Carson, 1998, p. 136).

Another book about beds. When I first read Anne Carson’s Autobiography of Red, I was struck by how she treated the bed as more than furniture - as a kind of interior landscape or psychic terrain to which the protagonist, Geryon, retreats, where time collapses and emotional truth condenses. The bed, for Geryon, operates as a site of intimacy, vulnerability, transformation, and rupture: a threshold space, bridging his inside world and the world beyond.

Carson writes about the bed as a thing that bridges. On one side, it is a highly territorialised object, with a fixed place, normative uses, and clear temporal associations. On the other, it is a space of deterritorialisation: as the site of dreaming, the bed opens to nonlinear psychic geographies; as the site of illness, the bed undoes the body's habitual rhythms and deconstructs temporal experience; and as the site of desire and sexuality, it can resist normative functions and produce new assemblages of becoming.

Maria Puig de la Bellacasa, "Matters of Care: Speculative Ethics in More Than Human Worlds"

In Matters of Care, Maria Puig de la Bellacasa reframes care not as a sentimental virtue or a benign emotion, but as a "demanding, thick, impure complexity" that entangles hands-on physical labour, affective engagement, and ethico-political involvement. Care is an active, ongoing maintenance of interdependent worlds - something that must be continuously done to keep our environments liveable.

When applied to the clinical fieldwork at the Caritas Christi Hospice, Puig de la Bellacasa’s framework helps elevate the mundane, often invisible labour of the caregiving team. In this space, care is not abstract; it is physically and spatially enacted through minor, responsive adjustments - changing the incline of a hospital bed, softening the lighting, holding a hand, or giving a blanket. These acts are practical manifestations of care.