There are no accidental details in my work.
Every element can be explained by the story, text or data the project is built on.
About me
I am a visual designer and storyteller working across theatre, film and graphic design: set design, motion, information graphics and immersive formats.Before I draw anything, I study the material: the play, the script, the period, the data. I look for the story inside it and build the visuals from there.I like to work with my hands. For Bacchae I built the stage model myself. For Oil Prices I spilled ink on wet paper and scanned the stains. And I take projects through to production: Precedent, an immersive performance I devised, is now being realised under my production.I am looking for studios, productions and creative teams where dramaturgy and attention to detail matter.What I can work on
· Story and concept development
· Set and space design
· Titles and motion
· Information and editorial design
My approach
The solution comes from the material.
A communal kitchen from Euripides’ text, a house from the logic of a film, ink from the story of oil.
I make things with my hands.
A hand-built model for the stage, ink spilled on wet paper for a chart. A physical object shows me what a screen hides.
The dramaturgy is thought through.
What the viewer sees, in what order, and what stays out of frame.
Story and concept development
In Precedent, I came up with the idea and lead the production. I am responsible for the production side: technical, creative and organisational work. The project is being realised in collaboration with a large team.
The story of a defendant who broke a restraining order, witnessed a murder and did nothing. A question about the line between law and moral responsibility.
Set and space design
In Bacchae i moved the action into a Soviet communal flat. People share territory against their will, each has a life of their own, and the kitchen is common. Pentheus became the head of the house committee, Dionysus the new tenant, and the maenads neighbours who stopped sleeping at night.The kitchen rotates and shows everyday life: six gas stoves, a fridge covered in notes, pots on nails. A glass cylinder at the centre lets light and shadow through, but not detail, so the bacchic scenes appear as silhouettes.I built the model by hand. I made it myself to test how light and shadow behave inside the cylinder and how the space reads from the audience’s side.
Titles and motion
In the credits of the film Hereditary, I showed a house assembling from separate rooms, slowly and almost mechanically, like a repeated ritual. A dark palette, directional light like a flashlight, dense noise used as sound and as a visual device. The finished house cuts into the film’s first frame, and the loop closes.Hereditary shows that I study a film’s logic and translate it into motion.
What it shows: I study a film’s logic and translate it into motion.
Applied: film analysis, storyboard, motion design, sound as image.
Information and editorial design
For an infographic on rising oil prices i researched the events of the period and tied every rise and fall to its cause. For the background I spilled ink on wet paper to get the texture of an oil spill, then scanned the stains and worked them into the chart.
Why work with me
My decisions are grounded. Every rise and fall on the Oil Prices chart is tied to its cause.
The dramaturgy holds together. In Precedent, five routes lead to one verdict.
I make things physically. I built the Bacchae model by hand and made the Oil Prices texture from ink.
I carry projects to realisation and work with a team. Precedent started as my idea and is now being realised with a large team, with creative, technical and organisational work under my lead.
Have a story that needs to be shown?
Let’s work on it together.
I am open to collaborations, commissions and team roles in immersive and live projects, theatre, film and research-based design.
Write to me: madinaglasheva23@gmail.com
Telegram: @mrakkkii
