Hannah is an artist and projection designer based in Berlin and Brooklyn. She found her way into the visual and performing arts through her background as a classical violinist. Beginning as a video and installation artist after graduating from the University of Brighton, UK, she moved to New York City where she was immediately drawn to the performing arts and the interaction of live performance and projection design for the stage. She graduated with an MFA from the Yale School of Drama where she was in the inaugural class of Projection Design.
Her design work includes: World Premiere of The Listeners at the Norwegian National Opera; animated Newsreel and environmental projections for The Skin of Our Teeth at the Beaumont at Lincoln Center Theater; Dreaming Zenzile at St Louis Rep, McCarter Theatre Center & New York Theatre Workshop; visual design & original art for the immersive backgrounds in the film Hansel & Gretel; projections for Dreaming Zenzile (Repertory Theatre St. Louis); Alice Birch’s Anatomy of a Suicide (Atlantic Theater Company, NYC) a new production of Anna Deavere Smith's Fires in the Mirror (Signature Theatre, NYC, Henry Hewes & Outer Critics Circle Award); Yuval Sharon's new Magic Flute (Staatsoper Berlin) and Lohengrin (Wagner's Bayreuth Festival), hand-painted ink brush visuals for Hanne Tierney’s piece 18 Stanzas Sung to a Tatar Reed Whistle (FiveMyles, NYC); Water by the Spoonful (Mark Taper Forum, LA); interactive projections for the adaptation of Murakami's short story Sleep with Ripe Time (BAM, NYC); music video Unwind for new music duo New Morse Code; Pipeline by Dominique Morisseau (Lincoln Center Theater, NYC; Lucille Lortel Award); a new adaptation of Poulenc's La Voix Humaine (National Sawdust, NYC); The Death of the Last Black Man in the Whole Entire World by Suzan-Lori Parks (Signature Theatre, NYC); U.S. premiere of Revolt. She Said. Revolt Again. by Alice Birch (Soho Rep., NYC); visual score for Sarah Rothenberg's music-theater piece A Proust Sonata (Wortham Center, Houston & Alliance Française, NYC); projections for the world premiere of Du Yun's opera Angel's Bone (Prototype Festival, NYC, Pulitzer Prize 2017); and Ethel Smyth’s opera The Wreckers (Bard SummerScape, Annandale-on-Hudson); the visual score to art songs by composer collective Sleeping Giant for Albany Symphony's American Music Festival with Theo Bleckmann and Dogs of Desire (EMPAC, Troy); interactive hand-drawn projections for The World is Round, a folk-opera adaptation of the Gertrude Stein children's book (BAM, NYC; Obie Award; Exhibition at the Prague Quadrennial 2015); projections for Livin' La Vida Imelda (Ma-Yi Theater Company, NYC); architectural projection design with shadow puppetry company Manual Cinema for site specific opera La Celestina (Metropolitan Museum of Art, NYC); the visual score to La Prose du Transsibérien, an original quintet by composer Matthew Suttor commissioned by Yale Beinecke Library; projections for the new choral work ReAnimator Requiem by Matthew Welch (Abrons Art Center, NYC); and the world premiere of Sarah Ruhl’s Dear Elizabeth (Yale Rep & Berkeley Rep).
Hannah is the recipient of a Lucille Lortel, Outer Critics Circle, Henry Hewes and an Obie Award.
She also creates her own work, in which she conceives, designs and directs original pieces. Her background as a violinist has always been at the root of her art, driven by music and the desire to find in it visual expression. Her four-screen video installation Virtuosic, a virtual string quartet performance, was presented in Brighton, London, and at the National Review of Live Art Festival in Glasgow, and her staging of Schoenberg's Verklärte Nacht for sextet and projections was performed in New Haven.
Upcoming work includes Create Dangerously at Miami New Drama, World Premiere of Stranger Love at LA Phil, visuals for Christopher Cerrone’s Beaufort Scales, and El Niño at the Metropolitan Opera.
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