Sphere Las Vegas

The End of Genesys - Visual Co-Creative Direction

Dec 2024
Residency Start
Mar 2025
Residency End
200,000+
Total Attendance

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 2019. 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. - Official Statement
"Collaborations include art direction by visual co-creative director, Alessio De Vecchi, executive production by head creative and stage designer, Alexander Wessely, and additional production by animation studio Woodblock."

sphereentertainmentco.com

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 - January 2025
"De Vecchi, who first met Milleri after he pestered him on Instagram for a meeting, has been involved since Anyma's inception, beginning with the robot Eva head that would inevitably grow to include a body."
"De Vecchi and Alexander Wessely, as Milleri's core creative team, oversaw all aspects of production, from managing the animators to constructing the set."
"De Vecchi described the Sphere process as grueling, sleeping only a few hours a night as he worked remotely from Ibiza. 'It's just insane because you have so many constraints that come from how the pipeline is designed in the Sphere,' says De Vecchi, 44."

Variety's January 2025 profile placed De Vecchi alongside Milleri and Wessely as the core creative team behind the production, detailing the scale and technical demands of the Sphere's LED canvas.

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.

Flaunt Magazine
"A huge part of this world was shaped by Alessio De Vecchi, a brilliant visual artist, whose vision was foundational to the show."
"When I joined this project in April 2024, Anyma and Alessio de Vecchi had already been developing this concept called Genesys which is the first and third act of the Sphere show."

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

Office Magazine
"Visual Director Alessio De Vecchi has been a core partner since the project's inception, working alongside Milleri to ensure the music and visuals are created as one cohesive canvas."
Document Journal - February 2025
"The VFX work was all led by Alessio De Vecchi who Anyma has been working with since the very beginning."

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

Matteo Milleri - Direct Acknowledgment

V Magazine - May 2025
"For example 'Human Now' the song was written by myself with Magnus, all while we were simultaneously developing the closing sequence visuals with Alessio De Vecchi."

Direct quote from Matteo Milleri acknowledging collaborative visual development for the Sphere show's finale.

Creative Team

RolePersonScope
Visual Co-Creative DirectorAlessio De VecchiArt direction, visual identity, character design, VFX direction
Head Creative & Stage DesignerAlexander WesselyExecutive production, stage design, set construction
Animation StudioWoodblockAdditional 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 2019–2020, 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. 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.

The Numbers

Twelve sold-out shows. Over two hundred thousand attendees. An estimated gross merchandise revenue in the millions — across 30+ products bearing EVA's face, from hoodies to limited-edition prints, sold at the venue, on tour, and through the year-round online shop. Three albums — Genesys, Genesys II, and companion releases — whose entire narrative arc was built around characters De Vecchi created. Brand collaborations with Bulgari, Lancôme, and Dolby, each using De Vecchi's visual assets as the creative foundation.

This is the commercial footprint of a visual system. Every ticket sold was a ticket to see EVA, ADAM, LILITH, and SYREN inhabit the largest LED canvas on Earth. Every hoodie purchased carried a character whose design traces back to De Vecchi's working files from 2019. Every brand partnership was predicated on the aesthetic distinctiveness of a visual language built across years of creative practice.

The Sphere revealed how valuable ANYMA's visual identity had already become. The visual system that scaled from a single digital artifact to a 580,000-square-foot LED display did not change in kind along the way. It changed in magnitude. The same design philosophy that made EVA 0 arresting on a phone screen made her overwhelming at three hundred feet tall. That continuity — from SuperRare to the Las Vegas skyline — is the signature of a visual language built with structural integrity from day one.

After the Sphere

The residency ended. The visual system did not. As ANYMA transitions into the AEDEN World Tour — launching at Coachella 2026 — the characters, aesthetic language, and production pipeline that De Vecchi built continue to underpin every aspect of the project's visual identity. The Sphere was not an endpoint. It was a proof point — the moment when a visual universe conceived in a single artist's practice, developed across five years of partnership, and tested across dozens of productions was finally given a canvas worthy of its ambition.

Characters & Works The ANYMA Story All Press Coverage Instagram

© Alessio De Vecchi. Visual Co-Creative Director of ANYMA. EDM.com Best Visual Artist 2023.