Caravan: A Revolution on the Road (2019)
Caravan was a collaboration between Grammy Award-winning composer and musician Terence Blanchard, hip-hop choreographer Rennie Harris, and the ATEC 3-D Studio LightSquad under Professor Andrew Scott.
As the LightSquad's Line Producer, I took the helm of the setup and teardown of our visual equipment. I also acted as the team's liaison when consulting the other groups for help with the challenges we faced. I collaborated with the other artists in order to create a unified visual style for the show.
We Will Be Together Again (2021)
“We Will be Together Again” is about humanity’s relationship with technology during the 2020 quarantine. Whether for work or chatting with loved ones, technology kept the world connected —even when doors and borders were shut. “We may be apart now, but soon we will be together again”.
The ATEC LightSquad teamed up with alumni from Texas State University and the University of Texas at San Antonio to create an entry for the 17th Annual One Minute Projection Mapping Contest, held in Tokyo, Japan. In the course of one month, the group held meetings over Discord, and assembled the project from beginning to end primarily in a virtual setting.
This project brought together a community of artists who were eager to create meaningful collaborative work in the midst of a global pandemic. These artists gained valuable production skills, while representing Texan culture overseas.
Song from the Uproar: The Lives and Deaths of Isabelle Eberhardt (2020)
Song from the Uproar was a cancelled opera set to be presented by the Dallas Symphony Orchestra —in collaboration with the Verdigris Ensemble, Voices of Change, and the ATEC LightSquad— for the 2020 Soluna festival. The opera, by Missy Mazzoli, tells the tragic story of Swiss writer Isabelle Eberhardt and her exploration of religion, gender identity and drug abuse, leading to her death in Algeria. For Pablo Reyes (BA ATEC 2020) and me, this was our capstone project.
We designed and animated the projection backdrops for the opera, which would transport the audiences through Eberhardt's diary and into the dunes of the northern Sahara. We employed 2D and 3D animation in order to make a scene that felt grounded in history at some points, yet dreamlike at others.
In the end, this production was postponed —and later scrapped— due to the global Covid-19 pandemic. However, during this time, I was able to learn about stage lighting systems, MIDI-control activation, and light stage craft.