We Are All Star Stuff

“I know that the molecules in my body are traceable to phenomena in the cosmos. That makes me want to grab people on the street and say: ‘Have you heard this?!”

— Neil deGrasse Tyson

Not just are we star stuff, but the tools we use to create are as well. Drawing inspiration from emission nebulas, the installation was fabricated using materials that would be mundane outside of a galactic perspective: packing tape, wire, and floss. Shown at the California Institute of the Arts, the public exhibition welcomed people to experience a constantly evolving nebula suspended in the space that was more than the sum of its parts.


self-reflexive was a collaboration with Andrea Gise of agise & dancers. Exploring online self representation vs the non-digital self, our soloist danced with a projection of the digital representation of herself. Her digital self was enveloped in many layers of ethernet cables, glistening silver and glass, and a key light from the left. She was a mirror of the digital self, slicing through from a world of saturation and fragments into a strong, crisp light from the right.

In the same vocabulary of the iridescent costuming and mirrored sequin makeup, my sculpture, Icarus staged numerous appearances as the source of the abstract reflections and lens flares.


The Royal Conservatoire of Scotland’s graduation showcase of Technical and Production Arts includes a costume and fashion show, portfolio exhibition, temporary architectural lighting installation for a theatre-turned-bar, and student-led technical demonstrations of automation, performer flying, sound and lighting consoles.

My personal highlight of the event was creating a circus performance with Glasgow-based aerial acrobatics troupe Spinal Chord, which detailed both the splendor and unsettling underbelly of circus performance.

The Daedalus Project

During my assistantship at Oregon Shakespeare Festival, after serving as the assistant lighting designer for nine productions and multiple designers, I took on the lighting design and programming of the their annual AIDS/HIV benefit extravaganza, the Daedalus Project.


I was given the challenge of animating light, light which itself moved through the space, free of a shell. Neither intelligent lighting fixtures or actor-manipulated fixtures were the desired effect. I took a standard ceiling fan, and painted concentric stripes on the blades with a very luminescent paint. Using ultraviolet fixtures which did not interact with the immense white walls of the venue, nor the white costumes; the blades alone took on luminosity.

The images are in no way “long exposure photographs.” The blades rotated at such a rapid rate that no imperfections were perceived by the human eye.


OCHSA’s avant garde production of Medea took the form of a saturated nightmare. A writhing, haunting chorus evolved characters, but only to be consumed again after their role was complete. Overseen by the three fates, Medea was guided through a twisting series of unreal horrors. Instead of being carried from both her actions and Corinth in a deus ex machina, Medea’s fates present her own reflection and she awakes to the reality of these terrors.

Lighting Costumes

In 2008, I threw together a last-minute Halloween costume from my closet… I went as a lighting fixture– a Source Four! Since, I have continued creating geeky costumes out of unusual materials! I recently focused my love of repurposed materials, creating a sculpture, Icarus, from fifty-two lighting instruments’ burnt reflectors.

LDI 2009 – Gel Dress made from swatch books to celebrate my internship with Lee Filters. Press: PLSN

USITT 2010 – 1 of two contestants in the Gaff Tape Dress competition hosted by JimOnLight & BMI supply. Press: PLSN, JimOnLight

LDI 2010 – Gobo Dress with sea-nymph-like gobo scales and assorted metalwork over silver tulle.

USITT 2011 – EOS keycap tuxedo featuring buttons reading “5, 1, 2” and proper syntax on the legs’ tuxedo stripes.