01/05/2016
MEET THE DESIGNER!
Artist Laura Howley has designed our stunning set. Here's what she has to say on what Van Gogh means to her...
Q: What's your background as an artist?
Laura: For years I have been an acrylic painter, and mainly stuck to still life works until a few years ago, when I decided to turn my hand to architecture. One of the pieces I am most proud of is an abstract study of the Chrysler Building I did for commission a couple years ago. I’ve also been lucky enough to exhibit my work around York, with my last exhibition ‘Flora and Fauna’ (2014) selling half the shown works. I’ve also been practising illustration since 2014, with most of them being sold for commission or being used for my professional blog. I only began set design a couple years ago, but already I have helped design and create major set pieces for Four Shadows Theatre, Off the Rock Productions and Footlight’s Theatre’s ‘Crossed Swords’ production. I am currently in Australia working and travelling, and in July, I am planning to do a certified course on set design from the NIDA (National Institute of Dramatic Arts) in Sydney.
Q: Tell us a little about the set!
Laura: At the beginning of every project, I have to find as many reference images as possible. With the set of ‘Vincent’, I began researching into the specific elements of his room (i.e. what was important to the man, and what made his bedroom essentially him). I put all of these into a rough sketch so I could refer back to it if I became lost in the designing stage, I also had to do some top up research into his mental state, and what the most popular theories were. I am a big believer that as well as depression, the amount of absinthe he drank contributed to how he saw the world. Additionally, I wanted to include elements from his other paintings into the set, so in a way, you could see parts of his imagination bleed into the room. Once I had these ideas, I could start drawing out different ways in which the set could symbolise Vincent’s mental state. For example, in my second design, the base of the stage is a canvas; like a part of him is trapped inside the painting. Or maybe this is more present in my first design, where the walls of the room can change position, as if they represent Vincent’s ever changing mental state. It was important to me though that each design reflected some aspect of Vincent’s art style; colourful, impressionistic and bold. As well as my main designs, I felt it important to include supporting sketches to explain the importance of smaller elements, such as the starry night-like lights and the over-sized window. I never like giving too little an explanation, so as long as the director gets a full understanding of my designs and the symbolism behind them, I am happy with what I have produced.
Q: What does being involved in this project mean to you?
Laura: Vincent Van Gogh is my artistic idol, and to take part in a show all about him is brilliant. Ever since secondary school, he has influenced my artistic practice and I’ve even been lucky enough to see some of his original works in Amsterdam. There has always been something about Van Gogh that rings true to a lot of artists who find it difficult to get recognised, and I think that’s why he’ll always be popular, especially with me. I have also always been very supportive of independent art of Yorkshire, and whilst I have been away in Australia, it has really touched me to know that people still wish to work creatively with me. To still be part of the York community thousands of miles away is wonderful, and the fact I get to combine that with my love of Van Gogh? It’s just amazing.
Q: And finally... what is your favourite painting by Vincent and why?
Laura: I have a few favourites, but I would say ‘Wheatfield with Crows’ has always topped the list. A lot of people believe it to be his final painting, however it is more like ‘one’ of his last. He did very few after that, with many left unfinished, but the contrast of colour is amazing. I was lucky enough to visit the site in Auvers-sur-Oise where he sat and painted it, and it is amazing how his imagination and personal suffering can turn such a normal setting into something magical. A couple others that prove that for me are ‘The Starry Night’ and ‘The Church at Auvers’.
Check out Laura's work here: Laura Rosé
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For more information on the show, please visit yorkfootlights.wix.com/york-footlights
