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Laser #1 - S1 Hat with Rikki Laser
No full texthttps://ir.uiowa.edu/ideal_latham_images/1266/thumbnail.jp
Imperatrix, Domina, Rex: Conceptualizing the Female King in Twelfth-Century England
Get PDFThis article draws on methods from transgender theory, historicist literary studies, and visual analysis of medieval sealing practices to show that Empress Matilda of England was controversially styled as a female king during her career in the early to mid twelfth century. While the chronicle Gesta Stephani castigates Matilda’s failure to engage in sanctioned gendered behaviors as she waged civil war to claim her inherited throne, Matilda’s seal harnesses both masculine and feminine signifiers in order to proclaim herself both king and queen. While Matilda’s transgressive gender position was targeted by her detractors during her lifetime, the obstinately transgender object she used to represent herself continues to trouble gender categories today
Love and Information
No full textThis images features the entire cast on stage, showing the scope of fabrics and cuts of costumes.https://ir.uiowa.edu/costume_design/1172/thumbnail.jp
2PM in Faith, Nebraska
No full textThis image features Claire, as she walks through the forest. She is wearing a cropped button up and ‘mom’ jeans was inspired by modern thrifted fashion.https://ir.uiowa.edu/costume_design/1165/thumbnail.jp
MERRILY
No full textThis image features Emma, as she reflects on her life. An important part of this design was to contemporize the period in which the real Emma Goldman lived in, by putting her in pants, and paring down the amount of ornamentation she wore.https://ir.uiowa.edu/costume_design/1160/thumbnail.jp
Come & Go Project
No full textCome & Go is a play about secrets and past. Perhaps the past is too traumatic to remember or maybe no one knows how to approach the discussion at hand. My design for this text was inspired by the work of Teresita Fernández and her large-scale installations using natural elements.
Teresita Fernández is a contemporary artist living in New York City. Her artwork is best known for her large public installations and unconventional use of materials that often contain historical and cultural references. Many of her works focus on the natural world and different perceptions of it. Her artwork often plays with different surface textures and usually has both three-dimensional and two-dimensional components in order to capture the nature of the formless elements of fire, water, and air. This also allows her to play with optical illusion using depth, lighting, and motion.
Water and fire both consume and wash away the past in ways that can be both devastating and revitalizing. These two elements seem to work against each other, but in the end their powers are more similar than we often realize. Tapping into Fernández’s environmental messages, I have placed the scene in the aftermath of a forest consumed by fire and doused by water. The characters are seated on a fallen log that has the slightest hint of life beneath its scorched exterior while the remnants of the burning woods remain behind them. Water has washed through the area and functions as the main playing space beneath a canopy of falling rain and the wisps of smoke still trail into the sky above, giving the women much to reflect on as the wander away from their friends
SOFA: Connect Competition
No full textRopes were woven around the beams and pulled down to connect to benches. This created a place to hide lights behind the seating to up light the ropes creating interesting textures and shadows across the structure.https://ir.uiowa.edu/lighting_design/1183/thumbnail.jp
Orlando
No full textOrlando and Sasha witnessing the scene of Shakespeare’s Othello in which the titular character kills Desdemona. The scene is lit with warm pink and red tones so as to communicate both the passion of Orlando and Sahsa, as well as the rage of Othello as he kills Desdemona.https://ir.uiowa.edu/lighting_design/1063/thumbnail.jp