Work samples
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Ice Picker BirdPuppet Character from Immersive Theatre Production with Submersive Productions called H.T. Darling's Incredible Musaeum: Treasures of New Galapagos, Acquisitions from the Perisphere. This tender bird character looked after her three nestlings and attempted to escape her enclosure in the Musaeum. She reaches out to connect with others by plucking her feather to give as a token. Materials: Plexiglass, Embroidery Hoops, Chicken Wire, Gauze, Feathers, Petals, Legos, Slinky, Fabric. Photo By: Glenn Ricci
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Frankenstein CreaturePuppet Character in Cohesion Theatre Company's Production of Frankenstein by Robert Kauzlaric. Standing 7'6" tall, and constructed from reed, muslin, burlap, coffee filters, and LED lights, this puppet was operated by one puppeteer and as many as six. A mask can be more expressive than an animated face; gentle, subtle angles can convey such a spectrum of emotion. Photo By: Shealyn Jae
About Jess
Baltimore City
I am a zookeeper. I sculpt and construct puppet creatures with animal qualities that capture natural forms and movements through a tension between realism and abstraction. I give life to these creature puppets using intense focus to transfer enigmatic energy through my hands. This allows me to disappear behind the puppet to become a visible invisible puppeteer. My endearing puppets emotionally connect to audiences, like Lucy the Ice-Picker Bird plucking a delicate feather to reach out for… more
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"See Also:" - Performer, Puppeteer, Fabrication Team, Core Development Team
Submersive Productions
See Also: is a devised, immersive theatrical experience taking place at the George Peabody Library in Baltimore City. As a performer, I played the character of a Suffragette who lead the audience in a march around the space based off the game "Simon Says." As a fabrication Artist, I constructed book arts and a flying book puppet to add to the magic of the world we created within the library.
Photos By Kintz
Photos By: Glenn Ricci
Costumes By: Deana Brill
See Also: is a devised, immersive theatrical experience taking place at the George Peabody Library in Baltimore City. As a performer, I played the character of a Suffragette who lead the audience in a march around the space based off the game "Simon Says." As a fabrication Artist, I constructed book arts and a flying book puppet to add to the magic of the world we created within the library.
Photos By Kintz
Photos By: Glenn Ricci
Costumes By: Deana Brill
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See Also: SuffragetteSee Also: Suffragette character leading audience in a game of 'Simon Says.' Photos by Kintz.
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Suffragette PerformancePhotos by Kintz
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Showing BookPhotos by Kintz
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Suffragette and Book PuppetPhotos by Kintz
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Flying Book PuppetPhoto by Glenn Ricci
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Glove BookBlackout Poem Reads: Queen, go forward With courage! Let come what may! That I without delay go Once more My feet bear me with such fearlessness Up O sisters! joy partake, joy partake, Delightedly now But with firmer and surer feet! . . .
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Revolt Book Art
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CHRG/CHNG FlyerCHARGE / CHANGE Sigil, Prop pamphlet handed out to audience members as Suffragette character.
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Suffragette CharacterPhotos by Kintz
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Composite CharactersPhotos by Kintz
"The Vultures" - Puppeteer, Puppet Fabrication, Devising Development
Work in Progress
I am currently developing puppetry performance pieces using these vulture puppet characters. In the first video, I am pictured auditioning with one vulture. I am interested in this blend of puppetry and dance.
In the second video, I am rehearsing a solo piece developed at the Eugene O'Neill Theatre Center's National Puppetry Conference in 2019.
These are puzzle pieces to a larger idea I'm interested in developing. Exploring such symbolism of the vultures as figures of Mother Earth, Sky Burial, and Reincarnation, these puppets will activate to illustrate a story, wordlessly, with music accompaniment. I am interested in the power of ritual performance and how our perception of the world conveys responsibility for upholding a place on this planet in relationship with all creatures. The vultures perform a ritual themselves in completing our circle of life, consuming our dead. I am modifying and adapting bird skull masks from Birdland and the Anthropocene into vulture puppets to make six total vulture characters.
I am currently developing puppetry performance pieces using these vulture puppet characters. In the first video, I am pictured auditioning with one vulture. I am interested in this blend of puppetry and dance.
In the second video, I am rehearsing a solo piece developed at the Eugene O'Neill Theatre Center's National Puppetry Conference in 2019.
These are puzzle pieces to a larger idea I'm interested in developing. Exploring such symbolism of the vultures as figures of Mother Earth, Sky Burial, and Reincarnation, these puppets will activate to illustrate a story, wordlessly, with music accompaniment. I am interested in the power of ritual performance and how our perception of the world conveys responsibility for upholding a place on this planet in relationship with all creatures. The vultures perform a ritual themselves in completing our circle of life, consuming our dead. I am modifying and adapting bird skull masks from Birdland and the Anthropocene into vulture puppets to make six total vulture characters.
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The Vultures PerformanceWorkshop Performance at the Eugene O'Neill Theatre Center's National Puppetry Conference, 2019 Photo By: Richard Turmine
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The Vultures Performance 2Workshop Performance at the Eugene O'Neill Theatre Center's National Puppetry Conference, 2019 Photo By: Richard Turmine
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Vulture Performance 3Workshop Performance at the Eugene O'Neill Theatre Center's National Puppetry Conference, 2019 Photo By: Richard Turmine
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The Vultures RehearsalPuppetry Designer and Puppeteer, Eugene O'Neill National Puppetry Conference, Participant Piece Rehearsal, Flute Accompaniment by Patricia Julien, Filming: Kali Therrien
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JessRassp_Puppet_AuditionSong: Tra la la la (Peter's Aria), Humperdink's Hansel and Gretel (Provided by Old Trout Puppet Workshop), Voldie the Vulture: Jess Rassp, The Mastodon Bones: Francisco Benavides, Filming: Glenn Ricci, Location: The Peale Museum, Baltimore, MD
"H.T. Darling's Incredible Musaeum" - Puppeteer, Puppet Fabrication
Full Title: H.T. Darling's Incredible Musaeum: Treasures of New Galapagos, Acquisitions from the Perisphere
Submersive Productions
Directed and Created By: Lisi Stoessel, Susan Stroupe, Glenn Ricci
I was a contributing artist and puppeteer for this fully immersive theatre experience. The explorer, H.T. Darling has traveled to another planet called New Galapagos to obtain 'alien' creatures to collect and put on display in 'his' museum. Many specimen characters were puppets, and as a puppeteer, I developed the characters and moments between actors, while also improvising puppetry with audiences in direct interactions. I enjoy spontaneous, improvisational puppetry because it feels so playful and in the moment. My contributions to the Musaeum were: the Ice Picker Bird and her three Nestlings, Bird Moth, Polar Barong, Goddess Mask, and Hydra Snail. All are adapted to the environment on New Galapagos and play into the mythology of the peoples of that planet. Inventing creatures for another world was an exciting artistic exploration, and our team collaborated well to create a unique, out-of-this-world experience.
Submersive Productions
Directed and Created By: Lisi Stoessel, Susan Stroupe, Glenn Ricci
I was a contributing artist and puppeteer for this fully immersive theatre experience. The explorer, H.T. Darling has traveled to another planet called New Galapagos to obtain 'alien' creatures to collect and put on display in 'his' museum. Many specimen characters were puppets, and as a puppeteer, I developed the characters and moments between actors, while also improvising puppetry with audiences in direct interactions. I enjoy spontaneous, improvisational puppetry because it feels so playful and in the moment. My contributions to the Musaeum were: the Ice Picker Bird and her three Nestlings, Bird Moth, Polar Barong, Goddess Mask, and Hydra Snail. All are adapted to the environment on New Galapagos and play into the mythology of the peoples of that planet. Inventing creatures for another world was an exciting artistic exploration, and our team collaborated well to create a unique, out-of-this-world experience.
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Ice Picker Bird
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Ice Picker in Environment
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Ice Picker Visiting Nestlings
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Polar Barong MaskHand carved in wood from one solid log, fangs and ears are additions to original log. Acrylic Paint. Photo By: Glenn Ricci
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Goddess MaskHand carved wood, acrylic paint. Photo By: Glenn Ricci
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Bird MothPuppet Character, Materials: Clothespins, Embroidery Hoops, Command Hook, Shell, Beads, Fabric, Wire. Photo By: Glenn Ricci
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Hydra SnailPuppet Character, Materials: Coffee Filters, Latex, Slinkies, Fabric, Glass Eyes
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Polar BarongMounted Head, Materials; Hoops, Chicken Wire, Fabric, Celluclay, Acrylic Paint, Glass Eyes. Photo By: Glenn Ricci
"Tornkid"- Puppet and Scenery Fabrication, Puppetry Direction
Cohesion Theatre Company and Asian Pasifika Arts Collective (APAC)
Written By: Katelynn Kenny
Directed By: Cara Hinh
In Collaboration with Asian Pasifika Arts Collective (APAC), Cohesion Theatre produced Tornkid, the story of a child torn between two identities. Unable to express their emotions, Tornkid gets frustrated and rips themselves in two. Their "Other Half" steals their voice and descends into a mystical land based on Pacific Island mythology. Tornkid pursues their other half to try and win their voice back, meeting some puppet characters along the way.
As the scenery and puppetry designer for this piece, I worked closely with the director and design team to steer our creative direciton and artistic expression. To me, everything in this show is magical and animated - the scenery itself was puppeteered as a wave crashing upon the stage, unfurling before the audience's eyes.
Masks By: Tara Cariaso
Costumes By: Elizabeth Ung
Scenic Painters: Sam Callanta, Ahn Caintic, Megan Suder
Photos By: Catrece Ann Ramento Tipon
https://baltimoreapac.org
Written By: Katelynn Kenny
Directed By: Cara Hinh
In Collaboration with Asian Pasifika Arts Collective (APAC), Cohesion Theatre produced Tornkid, the story of a child torn between two identities. Unable to express their emotions, Tornkid gets frustrated and rips themselves in two. Their "Other Half" steals their voice and descends into a mystical land based on Pacific Island mythology. Tornkid pursues their other half to try and win their voice back, meeting some puppet characters along the way.
As the scenery and puppetry designer for this piece, I worked closely with the director and design team to steer our creative direciton and artistic expression. To me, everything in this show is magical and animated - the scenery itself was puppeteered as a wave crashing upon the stage, unfurling before the audience's eyes.
Masks By: Tara Cariaso
Costumes By: Elizabeth Ung
Scenic Painters: Sam Callanta, Ahn Caintic, Megan Suder
Photos By: Catrece Ann Ramento Tipon
https://baltimoreapac.org
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Tornkid TrailerPizza or spam? Important, not important. American, immigrant. Tornkid just wants to belong: at school, at home, in their own skin. So what does Tornkid do? Tear themselves in two. Tricky thing is, their other half runs away into a land both achingly familiar and unfamiliar. Take part in Tornkid's elemental journey to literally find themself, inspired by several Southeast Asian and Pacific Indigenous folktales
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Storyteller
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Scenery Wave
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Tree Spirit
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Fisherman Scene
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Sea Monster
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Old Fisherman FaceCoffee Filters, Acrylic Paint, Gauze
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Tree Spirit Paint Progression
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Floor Painting
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Floor Design SketchDesign Sketch, Watercolor Pencil, Paper, Graphite
"Frankenstein"- Puppetry Fabrication, Actor Training
Cohesion Theatre Company
Written By: Robert Kauzlaric
Directed By: Melissa LaMartina
This 7'6" tall Creature Puppet was operated by one actor and as many as six. Constructed from reed, muslin, burlap, coffee filters, and LED lights, this puppet was a particularly challenging in engineering because one-actor pupeteered solo for the first third of the show. Its bulk and positioning on the actor needed to align well enough to go up and down stairs onstage, and we took several attempts at rebuilding the legs. "Frankie" is also a lantern puppet, and in the show, as the Creature killed characters, they were added as puppeteers, and they also illuminated a new body part on the limb they were operating. These lanterns were key to the storytelling, and when the puppet first awakens, Victoria lights up its heart.
Cocollaborator: Chris Reuther
Photos By: Shealyn Jae
Written By: Robert Kauzlaric
Directed By: Melissa LaMartina
This 7'6" tall Creature Puppet was operated by one actor and as many as six. Constructed from reed, muslin, burlap, coffee filters, and LED lights, this puppet was a particularly challenging in engineering because one-actor pupeteered solo for the first third of the show. Its bulk and positioning on the actor needed to align well enough to go up and down stairs onstage, and we took several attempts at rebuilding the legs. "Frankie" is also a lantern puppet, and in the show, as the Creature killed characters, they were added as puppeteers, and they also illuminated a new body part on the limb they were operating. These lanterns were key to the storytelling, and when the puppet first awakens, Victoria lights up its heart.
Cocollaborator: Chris Reuther
Photos By: Shealyn Jae
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Frankenstein CreaturePuppet Character in Cohesion Theatre Company's Production of Frankenstein by Robert Kauzlaric. Standing 7'6" tall, and constructed from reed, muslin, burlap, coffee filters, and LED lights, this puppet was operated by one puppeteer and as many as six. A mask can be more expressive than an animated face; gentle, subtle angles can convey such a spectrum of emotion. Photo By: Shealyn Jae
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Frankenstein Performance
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Frankenstein Creature 1One Puppeteer
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Frankie Full Lantern
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Frankenstein WaltzFully Illuminated Lantern Limbs
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Frankenstein HeartHeart Lantern
"Birdland and the Anthropocene: Extinction Ritual" - Costume and Mask Fabrication, Choreography, Performance
Performed by: “The Flock”
Common Yellowthroat – E’tonia Ford
Downy Woodpecker – Lisi Stoessel
Mountain Quail – Lynne Parks
Belted Kingfisher – Jess Rassp
Carolina Parakeet – Kristen Faber
Summer Tanager – Claire Wayner
Birdland and the Anthropocene curated by Lynne Parks at the Peale Musaeum, Baltimore, Maryland. This performance was part of Opening and Closing nights of the exhibition that focused on human impact on bird populations.
I am interested in the power of ritual performance and how our perception of the world conveys responsibility for upholding a place on this planet in relationship with all creatures.
This piece is meant to embody the looming possibility of extinction. Six distinct birds come together to form a Flock that celebrates their vibrancy and life in this world. However, one in the group is already extinct, and they are the first to fall. The others may follow…
My goal in making these costumes is to mimic the shimmering and multifaceted effect of feathers through layering fabric textures. Each bird is distinct in their character and coloring, and their vibrancy is the focal point. In contrast, the skull mask paired with the costume evokes the symbol of extinction. Once the mask is worn, the bird is lost to time.
Photos By: Glenn Ricci and Randall Cornowich
Common Yellowthroat – E’tonia Ford
Downy Woodpecker – Lisi Stoessel
Mountain Quail – Lynne Parks
Belted Kingfisher – Jess Rassp
Carolina Parakeet – Kristen Faber
Summer Tanager – Claire Wayner
Birdland and the Anthropocene curated by Lynne Parks at the Peale Musaeum, Baltimore, Maryland. This performance was part of Opening and Closing nights of the exhibition that focused on human impact on bird populations.
I am interested in the power of ritual performance and how our perception of the world conveys responsibility for upholding a place on this planet in relationship with all creatures.
This piece is meant to embody the looming possibility of extinction. Six distinct birds come together to form a Flock that celebrates their vibrancy and life in this world. However, one in the group is already extinct, and they are the first to fall. The others may follow…
My goal in making these costumes is to mimic the shimmering and multifaceted effect of feathers through layering fabric textures. Each bird is distinct in their character and coloring, and their vibrancy is the focal point. In contrast, the skull mask paired with the costume evokes the symbol of extinction. Once the mask is worn, the bird is lost to time.
Photos By: Glenn Ricci and Randall Cornowich
"MASS/RABBLE" - Mask Fabrication, Core Dance Ensemble
Submersive Productions
Directed By: Lisi Stoessel and Yuko Kaseki
This was an immersive, wordless movement piece performed at the Baltimore War Memorial. I was in the Core Ensemble of ten with the large ensemble reaching over 30 members. Our dramaturgical research focused on crowd dynamics, displacement, the refugee crisis, natural disaster and weather patterns, and militaristic processing. Through the leadership of visiting Butoh Artist, Yuko Kaseki, we inhabited the physicality of elements, animals, extreme tension, isolated shaking, marching, and creating a tsunami. The masks in this show were used rather minimally, but provided great impact in stripping away our identities.
All maks were made based off the design of Lisi Stoessel. We (Me, Lisi Stoessel, Tara Cariaso, Ursula Marcum) sculpted in clay, cast in plaster, and poured 8 masks each to total 32 maks for the ensemble.
Photos By: Glenn Ricci
Directed By: Lisi Stoessel and Yuko Kaseki
This was an immersive, wordless movement piece performed at the Baltimore War Memorial. I was in the Core Ensemble of ten with the large ensemble reaching over 30 members. Our dramaturgical research focused on crowd dynamics, displacement, the refugee crisis, natural disaster and weather patterns, and militaristic processing. Through the leadership of visiting Butoh Artist, Yuko Kaseki, we inhabited the physicality of elements, animals, extreme tension, isolated shaking, marching, and creating a tsunami. The masks in this show were used rather minimally, but provided great impact in stripping away our identities.
All maks were made based off the design of Lisi Stoessel. We (Me, Lisi Stoessel, Tara Cariaso, Ursula Marcum) sculpted in clay, cast in plaster, and poured 8 masks each to total 32 maks for the ensemble.
Photos By: Glenn Ricci
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Mass/Rabble MaskMask Fabrication and Performance in Core Ensemble with Submersive Productions on Mass/Rabble. Materials: Neoprene, Acrylic Paint. Movement direction by Lisi Stoessel and Yuko Kaseki. Photo By: Glenn Ricci
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MasksFour Masks Design By: Lisi Stoessel Fabrications By: Lisi Stoessel, Tara Cariaso, Ursula Marcum, Jess Rassp
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M/R MaskNeoprene, Acrylic Paint
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M/R Performance
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M/R Performance 2
"The Winter's Tale, The Bear" - Puppet Fabrication
Chesapeake Shakespeare Company
Directed By: Isabelle Anderson
I fabricated this Bear Puppet and trained three puppeteers in its operation. The stage direction "exit, persued by a bear." is so iconic. I put over 100 hours into this bear because of my process. I start with a chicken wire frame in the size scale I'm looking for. Then, I use tin foil to make a rough sculpture of features, such as the teeth, nose, and eyes. I seal the tin foil sculpture with tape and wood glue - and now I have the proper size and fit that will work for the frame. I could proceed here and use the tinfoil-tape sculpture as a finished product, but I take a few steps further. I lay oil-based clay over the tinfoil-tape structure and sculpt more detail. Then, once the clay sculpture is complete, I decoupage in coffee filters to make a positive mold. I pull the coffee filters off the sculpture and seal it with glue, then gesso, and then it's ready to integrate into the chicken wire frame. I layer in the fabric textures, paint the features and seal with a gloss medium that gives the appearance of wetness. These details are accentuated by stage lights and add an extra hint of magic for me.
Directed By: Isabelle Anderson
I fabricated this Bear Puppet and trained three puppeteers in its operation. The stage direction "exit, persued by a bear." is so iconic. I put over 100 hours into this bear because of my process. I start with a chicken wire frame in the size scale I'm looking for. Then, I use tin foil to make a rough sculpture of features, such as the teeth, nose, and eyes. I seal the tin foil sculpture with tape and wood glue - and now I have the proper size and fit that will work for the frame. I could proceed here and use the tinfoil-tape sculpture as a finished product, but I take a few steps further. I lay oil-based clay over the tinfoil-tape structure and sculpt more detail. Then, once the clay sculpture is complete, I decoupage in coffee filters to make a positive mold. I pull the coffee filters off the sculpture and seal it with glue, then gesso, and then it's ready to integrate into the chicken wire frame. I layer in the fabric textures, paint the features and seal with a gloss medium that gives the appearance of wetness. These details are accentuated by stage lights and add an extra hint of magic for me.
"Midlife" - Puppet Fabrication
Single Carrot Theatre
Written By: Ben Iver
Directed By: Kellie McCleary
This world of hand-dyed gauze created an environment and creature's of a woman's dreams. All puppets were constructed with embroidery hoops, chicken wire, and gauze. The dog puppet is a favorite among my friends.
Written By: Ben Iver
Directed By: Kellie McCleary
This world of hand-dyed gauze created an environment and creature's of a woman's dreams. All puppets were constructed with embroidery hoops, chicken wire, and gauze. The dog puppet is a favorite among my friends.
"Scenic Painting" - Design, Scenic Artist
This is a collection of scenic painting designs I have made. I am interested in building my reputation as a floor painter. To me, the floor is all you need in order to define a space and evoke an environment.
I am also interested in geometry and using math in cobination with painting to create these designs. I would like to someday develop the curriculum for a scenic painting math class to show children the depth of connections between subjects.
I am also interested in geometry and using math in cobination with painting to create these designs. I would like to someday develop the curriculum for a scenic painting math class to show children the depth of connections between subjects.
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Here We Are Floor16' Diameter, Latex Paint Here We Are, Interrobang Theatre Company, Fells Point Corner Theatre, 2019
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Here We Are PerformanceHere We Are by Jen Diamond, Interrobang Theatre Company, Fells Point Corner Theatre, 2019 Photo By: Kiirstn Pagan
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The Orphan Sea Floor20' Diameter, Latex Paint The Orphan Sea, Cohesion Theatre Company, 2018
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Orphan Sea PerformanceThe Orphan Sea by Ceridad Svitch, Cohesion Theatre Company, 2018 Photo By: Shealyn Jae Photography
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Tornkid FloorOn Muslin
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Tornkid Floor in PerformanceTornkid by Katelynn Kenny, Cohesion Theatre Company and Asian Pasifika Arts Collective, 2019 Photo by Catrece Ann Ramento Tipon
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The GoodiesThe Goodies, Iron Crow Theatre, Baltimore Theatre Project, 2017 Photo By: Rob Clatterbuck
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Forever Plaid16'x16', Latex Paint Forever Plaid, CCBC Essex, 2016