Click the thumbnails below to see selections of my work!
After digging through the many different bas relief of Kala, I drew a preliminary sketch to plan out the mask design. 
The final product. I chose to build this mask to represent the sandstone bas relief of Kala that can be admired in temples like Angkor Wat, and Banteay Srei, rather than shaping the aesthetics around what the creature would’ve looked like in the myths themselves. 
The final product. I chose to build this mask to represent the sandstone bas relief of Kala that can be admired in temples like Angkor Wat, and Banteay Srei, rather than shaping the aesthetics around what the creature would’ve looked like in the myths themselves. 
At the start of Marisol by José Rivera, Marisol is on a subway car on her way home from work where she encounters a man with a golf club. In my design, the first scene is a realistic subway car interior that plays in stark contrast to the rest of the show’s style. I built a model in ½” scale then used photoshop to create overlays showing my design. 
At the start of Marisol by José Rivera, Marisol is on a subway car on her way home from work where she encounters a man with a golf club. In my design, the first scene is a realistic subway car interior that plays in stark contrast to the rest of the show’s style. I built a model in ½” scale then used photoshop to create overlays showing my design. 
A ground plan view of the proposed empty stage. In my design with a completely unrealistic budget, the floor and walls of the space are plexiglass cubes with translucent tarps inside covering garbage bags, metal hardware/wires, and various objects. Theoretically some of these cubes are able to come out of their place for various reasons. 
Marisol’s room in act 1 scene 4, when Marisol first meets the Angel. I like the idea that the Angel isn’t actually a physical person in the space, but a bodiless soul. Having the Angel projected onto the wall makes the angel free of a body but also trapped in each box she visits. 
The model of act 2. The curved platform adds disorientation to the set as Marisol wanders lost in the drastically changed New York City. Some cubes have been taken out of the walls, spilling out the death and spoils of the angelic war happening in the heavens above the earth to stop God from swallowing the rest of the universe as they die. 
The model of act 2. The curved platform adds disorientation to the set as Marisol wanders lost in the drastically changed New York City. Some cubes have been taken out of the walls, spilling out the death and spoils of the angelic war happening in the heavens above the earth to stop God from swallowing the rest of the universe as they die. 
