scenography works
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scenography works 〰️
CONCEPTUAL
- scenic DESIGN -
In my Scenic Design I coursework during Spring 2024, I developed conceptual 3D scenic models for The Devil’s Game and Terra Nova, exploring how abstract environments can communicate psychological and emotional themes through space, scale, and symbolism.
For The Devil’s Game, I created a greenhouse-inspired world based on the metaphor: “Creating insanity is like planting seeds of doubt in a garden of the mind until the weeds of madness choke out all reason.” Through towering enclosed structures, jagged landscapes, and bat-like forms, I wanted the set to feel like a prison of the mind consumed by manipulation and despair.
For Terra Nova, I explored isolation and human vulnerability through a stark, minimal environment featuring elevated platforms, harsh geometric forms, and an illuminated circular opening representing both discovery and the unknown. Designing these models helped me better understand how scenic design can shape atmosphere, emotional storytelling, and the audience’s relationship to a play’s world.
CONCEPTUAL
- lighting DESIGN -
These lighting designs were developed as design projects for my Lighting I coursework, where I explored visual storytelling through color, composition, atmosphere, and emotional tone. Each project challenged me to translate the themes and emotional landscapes of the plays into cohesive lighting concepts that supported both narrative and performance.
Nora by Ingmar Bergman
- lighting DESIGN -
For Ingmar Bergman’s Nora, I used lighting to reflect Nora’s emotional isolation and growing sense of confinement, contrasting warm domestic imagery with sharp shadows and cold tones to reveal the tension beneath the surface. Through color, contrast, and spatial separation, I wanted the design to visualize her psychological unraveling and eventual search for autonomy.
Sarah Ruhl’s Eurydice
- lighting DESIGN -
For Sarah Ruhl’s Eurydice, I approached the lighting design as a dreamlike emotional landscape, using cool atmospheric tones and isolated pools of light to explore themes of memory, grief, and the distance between worlds. I wanted the lighting to feel fluid and poetic, helping translate the play’s abstract emotional journey into a visual experience.
scenic painting
- intern -
In 2019, I interned with Granville Arts Center during their production of Seven Brides for Seven Brothers, where I worked as the assistant to the scenic painter. During the internship, I learned foundational scenic painting techniques focused on creating realistic wood and lumber textures, skills that later inspired me to construct and paint a full-scale cardboard barrel using acrylic paint.
