Production Designer
I LOVE NY - Niagara Falls (commercial)
I especially love the glow of the slide projector in this set—it echoes the heat between this unlikely couple. It also makes everyone, no matter how young or old, feel as though it’s time to look fondly back on their youth.
Production Designer
I LOVE NY - Dating (commercial)
We were hoping to shoot in Ruth’s actual apartment, but I am happy with the one we built her.
Production Designer
I LOVE NY - Bromance (commercial)
The budget was definitely tight, but we pulled off 5 set builds.
Production Designer
I LOVE NY - The Crush (commercial)
The blossom of first love.
The backpack is a fixture.
Production Designer
The Low Season
The look of this movie was informed by the sea in winter—the reflection, the colors, the light…the journey to Martha’s Vineyard.
Production Designer
Private Romeo (feature)
Military academies enforce cadets to have stark rooms, but the shades in the dorm room, their color and scale were very important for mood and the room’s relationship to light.
Production Designer
Private Romeo (feature)
We kept the English Classroom stark, which helped highlight the juxtaposition of the elevated shakespearean thread of the story.
Production Designer
VIDAL SASSON THE MOVIE (feature)
This beautiful documentary was lead by another legendary stylist and visionary, Michael Gordon. I found the documentary beautiful. I was a set decorator for the Art Director’s set.
Costume Designer
PARIS (off-Broadway)
I was a costume designer before I became a set designer. For off-broadway theater productions, I like to do both sets and costumes. In this show, I was also a performer however. So I had a collaborator for the sets.
Costume Designer
PARIS (off-Broadway)
The quality of the marquee bulbs against the wood looked at times like skin and made me think also of twilight. The glass made plinking sounds against the wood.
Costume Designer
PARIS (off-Broadway)
Tactile textures; there’s softness in the fox tail and the hair, hardness in the boned corset, tightness in the corset, looseness in the bouncing skirt.
Set Designer / Costume Designer
PARIS (off-Broadway)
DIRT! 15 cubic tons of dirt formed Chuck.Chuck.Chuck. This is the dump truck that deposited the dirt in the garage performance space in Williamsburg/Brooklyn.
Set Designer / Costume Designer
Chuck.Chuck.Chuck. (off-Broadway)
The dirt gave the sense of “somewhere” and “nowhere” at the same time. The coffin, the tree, the brick chalk surface, and the “firefly” globe lights were both interior and exterior elements that conveyed the sense of being alittle lost in between somewhere and nowhere.
