Fabrication Specialist.

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Fingers and Spoons at Soho Playhouse

Design by Josh Iacovelli

Pascale Roger-McKeever in FINGERS AND SPOONS. Photo by Jeremy Varner
Dimensions for the sculpture.
Base plates and skeleton
Full frame
Sculpting the muscles and spine with rope
She's almost finished
Pascale Roger-McKeever in FINGERS AND SPOONS. Photo by Jeremy Varner
Pascale Roger-McKeever in FINGERS AND SPOONS. Photo by Jeremy Varner.

Burberry World of Olympia (2021)

Over 150 pieces were made with SFDS for Burberry's World of Olympia rollout.
These heads were layered high density polyurethane foam. each line is hand dremmled and the chins sculpted by a team of 4 scenics. myself included.
Cast Resin and filled with spray foam, each sculpture took 4 pieces to make up the arms and body.
After sanding and dremmeling each 3d print line these large heads were painted and coated
The chin as it layered off the CNC
the chin after I sculpted it with a rasp and sandpaper wrapped around a pencil.
Me with 2 pieces of the sculpture I cast for SFDS.

Amas Theater Distant Thunder (2024)

Layering colors with a roller and rags to imitate brush strokes.
Coated with a green tinted polyurethane to blend the colors better and protect it from wear.
They wanted an abstract color-scape, that evoked the American plains.
The painting took 15 hours over 3 days.

The Human Wheel

For the September Hottie Bop, they asked me for a large spinning prize wheel. But! We were on a tight budget, it needed to be re-useable, and it needed to be easily transported by subway.

I made the face from recycling an old bicycle wheel. However -

I found during my drafting phase that making collapsable legs that would be heavy enough to counter the spinning face would be too expensive…

Thus The Human Wheel was born. I mounted the face to a steel plate in a backpack (a trick from Adam Savage’s Doc Ock cosplay).

Hottie Bop, Sept 2023

DEATH WALL

When everything fails - WE PIVOT!

the room originally pitched buying a large game online and just theming it with a nice paint job. Disaster struck when in less than 4 days before the show the delivery went awry and THE DEATH WALL needed to be made from scratch.

I only had 3 days, limited funds, and a single drill. Everything else had to be done by hand.

The DEATH WALL has large pilot holes so the contestants can see their colored tokens from the back, and keep “nightmare spaces” (the little skulls) a secret.

The DEATH WALL is 4’x3’, with a 3/5in” clearance between sheets of plywood. The tokens are pieces of gym flooring I cut, primed, and painted. 5”x 1/2in”.

Al Capone’s Second Vault

Flat-packing, lightweight, and breathable so an actor can hide in it for 30 minutes.

“Hottie Bop: The Mysteries of Al Capone’s Second Vault” had a very Looney-Toons feel, so we themed the vault accordingly. We opted for a lightweight material that could be easily adhere to cartoon physics, and a paint job that mimicked a cartoon’s take on 3D lighting.

It’s made of 5 Panels that each have interlocking velcro. They can come totally apart for transport, and an inset keeps the lid from sliding off or falling in.