STUDIO PROJECTS - Please scroll to see each gallery. Click photos to enlarge.
Designing for Dance costume design intensive at The Banff Centre for Arts and Creativity - Costume design and painting for showcase
(Milonga del Angel by Piazzola)
Instructors: Liz Vandal and Stine Sjøgren / Dancer: Nathan Powell / Showcase Photos: Aidan Ware
Nathan and I were interested in a costume that the dancer could interact with and adapt. I created a pattern and mockup for the corset piece and painted the textile for it as well as a stock pair of leggings that were adapted for length. The sketches are from exploratory brainstorming sessions and my process work.
(Milonga del Angel by Piazzola)
Instructors: Liz Vandal and Stine Sjøgren / Dancer: Nathan Powell / Showcase Photos: Aidan Ware
Nathan and I were interested in a costume that the dancer could interact with and adapt. I created a pattern and mockup for the corset piece and painted the textile for it as well as a stock pair of leggings that were adapted for length. The sketches are from exploratory brainstorming sessions and my process work.
Vimy by Vern Thiessen (University of Alberta MFA Theatre Design program)
Set design and model with consideration of lighting/projection and presentation of costume research. Advisor: Lee Livingstone
I chose to use rear projection on both an upstage screen and stage floor as a central point of the design for this memory play. A large mountainous cave is the focal point, becoming the wall of the hospital, cliffs of Nova Scotia, side of a trench, and summit of Vimy Ridge. Beds are fashioned from trench duckboards and can be hidden behind as trench walls or walked upon for the underground scenes. I collected and colourized historically accurate images for backgrounds of each location and created lighting renderings for the battle, over the top, trench, and hospital scenes.
Set design and model with consideration of lighting/projection and presentation of costume research. Advisor: Lee Livingstone
I chose to use rear projection on both an upstage screen and stage floor as a central point of the design for this memory play. A large mountainous cave is the focal point, becoming the wall of the hospital, cliffs of Nova Scotia, side of a trench, and summit of Vimy Ridge. Beds are fashioned from trench duckboards and can be hidden behind as trench walls or walked upon for the underground scenes. I collected and colourized historically accurate images for backgrounds of each location and created lighting renderings for the battle, over the top, trench, and hospital scenes.
Almighty Voice and His Wife by Daniel David Moses (University of Alberta MFA Theatre Design program)
Costume design for the four characters in the script and any changes/costumed crew. Advisor: Robert Shannon
Kissee-Manitou-Wayo, also known as Almighty Voice or Jean Baptiste, was a member of the Plains Cree killed under heavy fire from a large civilian and NWMP force. The first act of Moses’ play is a poetic retelling of his story, including Almighty Voice’s courting of and marriage to White Girl, so-called because of her time at residential school. The second act is presented as a minstrel show, performed in an abandoned residential school and done in whiteface, mocking the expectations of a white audience. It features the actress who portrayed White Girl as a Mountie, and Almighty Voice as his own Ghost.
My first act was a fairly realistic period representation with some colour symbolism, while my second act drew parallels between the residential school system and Nazi concentration camps, heavily influenced by the colours of the Union Jack.
Costume design for the four characters in the script and any changes/costumed crew. Advisor: Robert Shannon
Kissee-Manitou-Wayo, also known as Almighty Voice or Jean Baptiste, was a member of the Plains Cree killed under heavy fire from a large civilian and NWMP force. The first act of Moses’ play is a poetic retelling of his story, including Almighty Voice’s courting of and marriage to White Girl, so-called because of her time at residential school. The second act is presented as a minstrel show, performed in an abandoned residential school and done in whiteface, mocking the expectations of a white audience. It features the actress who portrayed White Girl as a Mountie, and Almighty Voice as his own Ghost.
My first act was a fairly realistic period representation with some colour symbolism, while my second act drew parallels between the residential school system and Nazi concentration camps, heavily influenced by the colours of the Union Jack.
Eugene Onegin by Tchaikovsky (University of Alberta MFA Theatre Design program)
Costume design: initial collages and finished renderings with working drawings for select characters - Advisor: David Lovett
Set design for full show: Ground plan and sections, construction drawings, quarter-inch scale model - Advisor: Lee Livingstone
Costume design: initial collages and finished renderings with working drawings for select characters - Advisor: David Lovett
Set design for full show: Ground plan and sections, construction drawings, quarter-inch scale model - Advisor: Lee Livingstone
The Queens by Marc Chaurette Advisor: Guido Tondino (University of Alberta MFA Theatre Design program)
Costume design, set design and 1/8" model, computer renderings of states for selected scenes
The corruption and inability to find any safety within the royal family was a jumping-off point that led to the incorporation of metallic materials and rust/patina.
Costume design, set design and 1/8" model, computer renderings of states for selected scenes
The corruption and inability to find any safety within the royal family was a jumping-off point that led to the incorporation of metallic materials and rust/patina.
La Boheme by Puccini (University of Alberta MFA Theatre Design program)
Costume design for Act II - Advisor: David Lovett
Set design for full show; drop-point perspective renderings, with acetate overlays - Advisor: Lee Livingstone
Costume design for Act II - Advisor: David Lovett
Set design for full show; drop-point perspective renderings, with acetate overlays - Advisor: Lee Livingstone
Andy Warhol Project (University of Winnipeg "Styles in Design" class)
Costume design for a theoretical play based on the works of Warhol. Advisor: David Hewlett
I chose to work on two couples, drawing my inspiration from quotations by the artist.
Costume design for a theoretical play based on the works of Warhol. Advisor: David Hewlett
I chose to work on two couples, drawing my inspiration from quotations by the artist.
The Possibilities by Howard Barker (University of Winnipeg "Styles in Design" class)
Set and costume design for selected scenes. Advisor: David Hewlett, with director input from Christopher Brauer
I chose to embrace the idea of these chatoic scenes being "ripped from the headlines" and incorporated newsprint into sets and costumes.
Set and costume design for selected scenes. Advisor: David Hewlett, with director input from Christopher Brauer
I chose to embrace the idea of these chatoic scenes being "ripped from the headlines" and incorporated newsprint into sets and costumes.
Our Country's Good by Timberlake Wertenbaker (University of Winnipeg "Styles in Design" class)
Set and costume design. Advisor: David Hewlett
For my set, I drew inspiration from Australian indigenous art. Symbols were incorporated into appropriate areas of the stage (a symbol for home at the camp, for instance). The set was finally covered in a layer of sand which would get moved away by the action through the show, revealing the traditional art beneath, showing that the indigenous presence had always been part of the land despite the British interlopers.
Set and costume design. Advisor: David Hewlett
For my set, I drew inspiration from Australian indigenous art. Symbols were incorporated into appropriate areas of the stage (a symbol for home at the camp, for instance). The set was finally covered in a layer of sand which would get moved away by the action through the show, revealing the traditional art beneath, showing that the indigenous presence had always been part of the land despite the British interlopers.
