Ian Evans Design
A Gentleman's Guide to Love and Murder
Weathervane Theatre | Directed by Bob Hupp | Scenic Design by Gibbs Murray
Lighting Design by Scout Hough | Costume Design by Rien Schlect
Source Artwork by Lizzie Benke | Photography Lew Whitener | July 2022
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Gents Guide is a murderous farce about Monty Navarro and his hilarious climb to the top of the DySquith family earlhood as he murders his way past those in line before him. The projections design focused on animating and mimicing co-founder Gibbs Murray's and Lizzie Benke's signature art style and building the full content package off of source artwork by the two, creating a unified, animated world which stylistically matched the painting of the set, and flowed with the world of the play, via looping animations and animated scene transitions that matched blocking, alongside assisting in some of the murders.
Constellations
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Gilson Lab Theatre
OU School of Drama
Written by Nick Payne
Directed by David Schmitz
Set+Lights+Projections: Ian Evans
Scenic Artisan: Leo Fuller
Photography by Jarrod Fries
May 2021
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Constellations is a story about a man and woman, Marianne and Roland, falling in love and the trials of life told through the concept of multi-verse theory. Each major scene is repeated multiple times with different endings, allowing the audience to piece together many storylines non-linearly as the show progresses. This projection design takes inspiration from cosmology, fluid and reflective installation art, and science fiction to create an ever-changing backdrop of floating portals abstractly framing the many worlds and endings used to tell this unique story.
Tendrils
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Brackett Theatre
OU University Theatre
Visual Artist Sylvie Mayer
Lighting Design by Logan Wynn
Choreography by Mary Ann Mayer
Photography: Drew Lotter
February 2022
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A masters thesis consisting of eight poetic sections exploring the process of grief, each section analyzing a different emotional step with original music made for the piece. The projection design focused on sourcing content from the choreographer's daughter's artworks and manipulating them to feel organic and "painted" for the stage, and fitting of each section, while technically focusing on creating a rig that would project onto the dancers over the full coverage of the stage, but still combine into a single image on the backdrop.