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JULY | 2025

INTERVIEW

DOMINIC ULLI

ARTISTIC DIRECTOR AND FOUNDER OF "THE ART OF SHOW

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BY BENIGNE TAINTURIER

Photo by Dennis Yulov

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INTRODUCTION

What is your creative process? I travel constantly, feeling at home everywhere. My creative space is a 60-square-meter caravan—more like a mobile house than a tiny home. I don’t own a TV or read newspapers; instead, I observe the world with open eyes. Films, exhibitions (like Marina Abramović’s in Zurich), nature, and classical music all inspire me.

Dominic ULLI, founder of The Art of Show, is a master of immersive entertainment, blending circus, theater, and magic into breathtaking productions. With a career spanning decades, he has designed awe-inspiring acts for global stages—from the iconic Circus Knie to avant-garde cabarets and multimedia spectacles.

My creative process flows like a river—from mountain to sea, gathering ideas naturally. I don’t force creativity; it emerges organically. When commissioned for a show, I start by understanding the client’s vision, then develop the production step by step—though I can’t always explain how. I don’t sketch plans on paper; my process is fluid and intuitive.

A true innovator, ULLI crafts experiences where emotion meets engineering, whether through his delicate Balloon Girl puppet act or large-scale performances like Pink Rabbit and Nights of the Stars. His work, rooted in Swiss precision and boundless creativity, transforms spaces into worlds of wonder.

Q&A

Could you talk about your collaboration with Voronin? I first saw Voronin 30 years ago in Freiburg during a dinner show. His blend of theater, ballet, and lighting instantly captivated me—his magic was uniquely theatrical and comedic. I dreamed of collaborating with him, and in 2024, it finally happened in Zurich.

Could you talk about your artistic career? Since childhood, I’ve always loved the circus. I would beg my parents to take me to performances whenever a show came to town. At sixteen, I began training under Jacky Lupescu at school, where I developed my first act—a juggling performance inspired by traditional circus artists. Around that time, I also met street magician Jim Cellini, a student of Tony Slydini, who further fueled my passion.

Voronin constantly reinvents his acts, playing with paradoxes—his slow, deliberate style contrasts with the quick precision of magic. For Pink Rabbit, we modernized the music (with my wife, a professional violinist, composing new pieces) and created an immersive experience where the audience transitioned seamlessly from dinner to a party atmosphere. The show featured a large cast and earned standing ovations every night. In today’s world, culture offers freedom and joy—something Pink Rabbit delivered brilliantly.

Switzerland had a thriving circus scene, but I also drew inspiration from Italy, particularly from the legendary clown and performer Alfredo & Romano Colombaioni. Learning from the Italian circus tradition was pivotal in my development. My apprenticeship wasn’t conventional—unlike university, I studied directly under the big top, mastering various disciplines and eventually creating my own acts.

Could you explain your puppet act in Circus Conelli? I created this act to bring something original to children, but it resonated deeply with entire families. It was my second iteration—the first debuted 12 years ago at Roncalli Tempodrom in Berlin.

In 1991, I joined Circus Knie with my partner, touring internationally before moving to Austria with Circus Louis Knie. Immersed in circus life, I worked as a technical operations manager, setting up tents and understanding the industry from the inside out—all by the age of 24. Later, I collaborated with a production company creating wildlife documentaries for the BBC, filming in remote locations like the Amazon and Mongolia. In Turkey, I pioneered the first camera setup for a high-wire sports event, learning from incredible talents along the way.

Circus Conelli, run by the wonderful Gasser family, provided the perfect stage. The puppets’ faceless design is key— their neutrality allows the audience to project their own emotions, creating a powerful, immediate connection.

Starting small, I built props and gradually expanded into stage design, lighting, and artistic direction for theater, film, TV, fashion shows, and circus productions. When my first child was born, I created the "Balloon Girl" act—a delicate, heliumpowered puppet performance that required precise technique to avoid mishaps. This act became internationally renowned, touring from Japan to Europe and North America.

Switzerland’s vibrant cultural scene has been instrumental in my work. Here, creativity knows no bounds—whether crafting costumes or constructing elaborate sets, it feels like building a grand castle. Every day, I absorb inspiration from the world around me and channel it into my productions, such as Pink Rabbit in Zurich.

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Photo from Dominic's Ulli collection

Favoriten Druck optimiert from Dominic Ulli's collection

© Witwinkel photo by Armon RUETZ Photo from Dominic Ulli's collection

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JULY | 2025

The paradox was striking: ancient builders achieved this grandeur without modern tools. Balancing technical effects with the venue’s natural magic was crucial. I relied on experts like Marco Tempest (AI and illusion) to bring my vision to life. Trust is everything in such collaborations.

How does your creative process differ for TV, circus, and cabaret? Live TV is the most challenging—lighting must translate emotions to viewers at home, often requiring compromises between producers and directors. Fortunately, I see light like a camera does. Recorded TV is easier, allowing adjustments in postproduction .

A tribute to Freddy Nock: Freddy was an extraordinary artist, holding over 30 high-wire records. Working with him was a joy—we shared the same philosophy. His passion was boundless, and he even taught my children his craft. His creativity knew no limits; what seemed impossible to others was routine for him.

For circus and cabaret, the energy is live and unfiltered. Every detail—props, lighting, timing—must be flawless in real time.

Do you have any memorable anecdotes? Once, a magician wanted to perform a flying act in a circus tent—a logistical nightmare. With audiences encircling the ring, hiding rigging in the dome was nearly impossible, and lighting conditions were tricky. What I love most is seeing magicians who truly believe in their craft. Sadly, I haven’t collaborated with many, but their dedication inspires me.

After his passing, something remarkable happened: following four years of pandemic delays, my schedule suddenly filled for an entire year. It felt like a sign from my dear friend—a final gift of inspiration.

https://www.the-art-of-show.ch/about-us

Could you talk about Nights of the Stars? Due to the pandemic, we moved the show from Sofia to Plovdiv’s ancient amphitheater (a UNESCO site). Projecting visuals onto its 2,500-year-old walls created mesmerizing shadows—a blend of cutting-edge technology and timeless architecture.

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A Pop-Up Theater Reimagines a Real TV Studio as an Intimate New Magic Venue in Orlando

What happens when you take a real TV studio—normally closed to the public—and open it up to audiences for intimate, high-impact magic shows? You get The Magic Studio (MagicStudioOrlando. com), a new pop-up venue that's bringing nationally touring magicians into a one-of-a-kind space in the heart of Orlando.

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For magicians, The Magic Studio may also represent something deeper : an approach to using existing spaces in new ways to put magic in front of more people.

Next up: Nathan Coe Marsh brings his own sharp blend of clean comedy and powerful sleight-of-hand to the venue on June 28, followed by Jon Armstrong—reigning Academy of Magical Arts Parlour Magician of the Year—on August 23.

For magicians, The Magic Studio may also represent something deeper: an approach to using existing spaces in new ways to put magic in front of more people.

Tickets and details available at: MagicStudioOrlando.com By day, the building is home to a working television production facility, including a fully equipped, 180-seat theater typically used for filming stand-up comedy and variety talk shows. But on select nights this summer, the cameras go dark, the audience lights come on, and the space is transformed.

Peter Samelson photo by Harris Bebey | AFRO TV

“We’re a themed attraction that delivers amazing and unreal experiences,” Marsh says. “But the theme is rooted in reality: instead of decorating a space to feel like something it’s not, we’re letting people into a fascinating , real place that they never get to see—an actual TV studio.” live tapings, and sees professional magicians perform from a stage built for television—an experience that’s part backstage pass, part magic show, and entirely unique.

The venue’s inaugural headliner was Peter Samelson, the New York-based master magician , theatrical illusionist, and off-Broadway star who recently appeared on Penn & Teller: Fool Us. Praised by the pair as “one of the greatest living magicians,” Samelson delivered an evocative performance that earned a standing ovation from the packed house.

Conceived and co-produced by Orlandobased magician Nathan Coe Marsh, in partnership with AFRO TV, The Magic Studio offers something rare in a city built on fantasy: an experience that feels real and impossible at the same time.

NATHAN COE MARSH

CO-PRODUCER OF THE MAGIC STUDIO IIN ORLANDO, FLORIDA

That hook is more than novelty. It changes the energy of the room. The audience enters through a working broadcast facility, sits in theater seats normally reserved for

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VANISH MAGIC MAGAZINE

World renowned crafters of coins share what makes them the best in the world

the curtain of many of the world’s most stunning close-up illusions are the hands of Roy Kueppers and his son, Shawn. Known for their exceptional craftsmanship, innovative thinking, and unparalleled design work, their creations are trusted by elite magicians across the globe. From legends like David Copperfield and Penn & Teller to modern stars like Shin Lim, top-tier performers consistently turn to the Kueppers duo for tools that elevate their magic to the extraordinary.

What sets Roy and Shawn apart isn’t just skill—it’s an unwavering commitment to excellence. Their work fills a niche that simply doesn’t exist elsewhere. As Shawn explains, “Coming up with new ideas, going to the shop and actually bringing these ideas to life—there is no feeling like it.” Having worked alongside his father since childhood, Shawn brings not only technical expertise but also deep personal passion to the craft. “It’s more than just a job to us, it’s an art. We take it very seriously and hope that our passion shows in what we create.”

Based in Las Vegas, the global hub of live entertainment, Roy and Shawn are perfectly positioned at the heart of the magic industry. Their presence in the city enriches not only the local magic scene but also has a ripple effect on performers around the world. In a place built on wonder and spectacle, these two craftsmen have quietly become indispensable.

Their tools may be small, but their impact on the world of magic is enormous.

An interview with Shawn

About Growing Up in Magic & Learning the Craft:

Growing up in a household where magic and illusion were part of everyday life was an incredible experience. My father, Roy Kueppers, involved me in everything from a young age. Some of my earliest memories are tagging along with him to places like Morrissey Magic and the Browser ’s Den of Magic in Toronto to help sell his

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my greatest inspiration. He leads by example and never asks anyone to do something he wouldn’t do himself. I knew from early on that I wanted to follow in his footsteps—not just to carry on the family craft, but to take it even further. The most challenging skill to master wasn’t just one technique—it was learning to match the high standards and consistency he set, both in workmanship and integrity. That challenge continues to drive me every day.

About the Business & Craftsmanship:

My father and I operate in a very specific niche within the magic industry: highprecision , close-up coin gaffes that meet both visual and mechanical demands. We’re machinists, yes—but more than that, we’re creators of functional art. We

Master Craftsmen

Roy and Shawn Kueppers

products. I may not have realized it at the time, but those early experiences gave me more than just exposure to great magic and legendary performers—they taught me work ethic and business fundamentals that have shaped everything I do today. I first stepped into the workshop around age 10, when my dad had just released his Super-Man Coin Bend. My first job was using a kick press to add a slight bend to the gimmick. Not long after, I learned to use a small lathe to machine a radius on the same piece, and that’s where the real learning began—the fundamentals of machining, the importance of precision, and the satisfaction of doing things the right way. My father has always been

machine our pieces within tolerances of thousandths of an inch to ensure perfect alignment, seamless concealment, and smooth, silent operation. Every gimmick has to be durable enough for real-world use, yet undetectable under a spectator’s nose. The creative process behind each new piece is a blend of challenge and discovery. A lot of the time It starts with an idea that feels just slightly out of reach—something that stretches the boundaries of what’s possible. From there, it’s all hands-on experimentation, troubleshooting, and fine-tuning until everything works the way it should. You never really know if it’ll come together until it does, and that moment—when it finally clicks—is pure magic. Seeing a magician use something we’ve built to genuinely fool an audience? That’s the payoff every single time.

WEBSITE roykueppers.com

email: roykueppers@rocketmail.com

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Collaborating with icons in magic is both an honor and a challenge—these are people who know exactly what they want, and they don’t settle for anything less than perfect.

Balancing innovation with practicality comes down to understanding how magicians actually use their tools in real performances. I can machine the most intricate gimmick imaginable—but if it’s not durable, pocketable, and foolproof under pressure, it doesn’t leave the shop. One of the wildest requests I ever got was to make a coin that looks completely normal from both sides, yet could be penetrated with something as light as a feather. It took a lot of thinking and experimenting—but we pulled it off. Over the years, I’ve seen the demand grow for props that feel tailor-made. So while we still run a full production line, we bring that same high-end, custom-level craftsmanship into every piece we produce. Staying ahead isn’t necessarily about trends—it’s about listening to the best performers in the world and building what they don’t even know they need yet.

Working with Legendary Magicians:

Collaborating with icons in magic is both an honor and a challenge—these are people who know exactly what they want, and they don’t settle for anything less than perfect. Some come to me with a fully formed vision, others just have a problem they can’t solve, and that’s where I get to shine—engineering the impossible from scratch. One of the projects I’m most proud of is Symphony Coins, a collaboration with Rocco Silano. For this set, we pushed every limit—we’re machining the coins as thin as humanly possible, and using the thinnest magnets available on the market. The tolerances are razor-thin, and every fraction of a millimeter matters. Making something that functions smoothly in a magician’s hands, under stage lights, and even on camera—that’s where my work really has to hold up. Every detail counts: weight, finish, friction, even silence.

The Art & Passion Behind the Craft:

For me, this has never been just a job—it’s always been an art form. I grew up around machines, sure, but also around magic. That combination never got old. What keeps the passion alive is knowing that every piece I make will end up in someone’s hands, creating a moment that feels impossible. Seeing a magician blow an audience away with something I built—that’s the payoff. It means I did my job right. I do perform from time to time, mostly to test my own work and for friends from time to time, but I’ve always been drawn to the creative side of magic.

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Las Vegas & the Magic Community:

Being based in Las Vegas has had a huge impact on my work. I’m surrounded by some of the best performers in the world, and that constant exposure keeps me sharp and inspired. It also means I’ve built strong relationships with top magicians who trust me to bring their ideas to life. I don’t formally mentor, but I always make time for younger magicians—whether it’s showing them a move, explaining a trick, or just helping them feel more connected to the art. As for what’s next, my dad and I are always innovating—it’s part of our everyday process—but we do have one project in the works right now that could make a major impact on the future of coin magic. It’s still under wraps, but we’re very excited about it. !

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CARTOON BY DAVID REGAL

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