Contraptor, metalworker, global activist, steampunk... specializing in pedal-power.

Using steel, wheels, and sewing, I rend Victorian æsthetics into a Mad-Max setting with a rigorous use of found and recycled materials.

Loves Me, Loves Me Not

Redmoon Theater's 2005 summer spectacle was exemplary of their style: Sweeping stage, daring location, involved in the neighborhood, and hauntingly magical. It set out to be a sort of post-apocalyptic comedy, set in a flooded town, about materialism. The show opened on September 15, and three weeks before opening night Hurricane Katrina forced it to undergo a considerable re-write. You can read a New York Times article about the show's transformation.

Originally I designed a series of bicycle-cars representing various forms of modern-day consumerist vice, such as a grill-mobile with endless attachments and implements. As the location was chosen, we began to come to terms with the challenges of putting on a theatrical production over water. Each character needs a boat for every movement, each dropped tool or prop is gone forever, and the wind can considerably affect the timing of the show.

We set up an above-ground pool in our shop, for testing. My vehicles became boats, and with the set crew I created a floating house and gas station, as well as a mobile floating band platform. The house transformed with a fold-down kitchen floor, a grill in the chimney, and a nursery that spun upside-down to appear as part of the roof.

The two boats I built for this show were The Quadropus and a pedal-powered jet ski. During the show itself, as usual, I worked on the pryo crew executing a floating net-of-candles effect.

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