Kenzie Bowes

There’s nothing like real light in a room that you can see because it stays with you in a different way that’s hard to describe. It’s a wonderful feeling.

—Kenzie Bowes

NEW YORK, NY, USA, June 10, 2022 / — Each week, we interview an artist who has made her mark in the art world. Kenzie Bowes is a lighting designer and technical director specializing in the field of scenography. An art that requires special skills both artistic and technical. You can read the full interview in the NY art Life MAgazine.

Kenzie Bowes is a theater technician and designer based in Alberta, Canada. She received her training from the many projects she worked on in her area, and she has her sights set on other cities and places in the future. For Kenzie, theater and every work of art has a deep and direct connection with light. There are many ways light can enhance a scene in a play. The colors, values, tints and intensities of light depend on each moment and each scene of a script. So, for a theater technician and/or a decorator, it is very important that he is connected and in tune with the play and the scenario in order to bring the scenes to life in a correct and artistic way.

The first few weeks of designing a play and working out the technical aspects are all about understanding the play, the setting, the timelines, and the mood and theme of the scenes within it. Then she works closely with other designers and technicians, and even puts herself in rehearsals and tech days to make sure the part design works and all the logistics are planned accurately. His training and unique experiences have given him success and a deep love for the profession.

Kenzie acted as technical director for a play called DSRIP in Alberta. She was responsible for most of the technical aspects of the play and worked closely with the director and playwright to set the theme of the play in such a way as to lock the audience in with every beat. The show received high praise for its light design and technical effects and had a lasting effect on its audience. It was one of the shows that Kenzie still considers one of the best projects she has worked on. For this project, she was able to do the job very well because she has a great understanding of sound and lighting consoles, which are necessary for every set design of a theater play. But there are also other skills such as hanging and focusing lights that are useful for a designer. Although there are crew members who are always present and help with this work, Kenzie also believes in being involved in these steps to ensure that her work has been done perfectly.

Kenzie’s unique connection with lights has also earned her numerous projects involving lighting design for award ceremonies and presentations. It’s an intriguing project for her because it’s a bit different from designing lighting for a play. In this scenario, the lights should also be aesthetically and visually pleasing to the guests and viewers of the awards show. She participated in technical duties at the Calgary Fringe Festival for three consecutive years in 2016, 2017 and 2018. Following her work with the Calgary Fringe Festival, Kenzie learned that she had an admiration for sharing her lighting design work with an audience. Plays and performances are the first step towards this goal, but so are festivals. She continued lighting design and technical work at the New Works Festival in Alberta in 2019, then returned to theater design in the same year. She finds harmony in creating a balance between festival lighting work and lighting design for a play. For Kenzie, there is an interesting contrast between the way she approaches her creative process for each project.

She still admires how light can affect these things. In 2019, she was responsible for technical lighting work for a play called God of Carnage in Alberta at the Bleviss Laboratory Theatre. During the same month, Kenzie also designed the lighting for She Kills Monsters, in which she showcased her brilliant execution of a full production on lighting. She also worked on another project called Monolith, and the lighting design was very intense but she was recognized for her beautiful light work.

As Kenzie has a masterful touch in lighting design, she gradually became chief lighting officer in two projects that marked her career. At the end of 2019, she designed the lighting and took full charge of the lights for the Welcome to Thebes room in Abbedam, and asked her team to assist her. She really brought the colors and shadows of the script to life with her fantastic work. She also served as head of lights for Belleville the following year, returning to the Bleviss Laboratory Theater. Kenzie is currently assisting with sound design at the Citadel Theatre. For her, the experience is something she continually finds fun and challenging and brings back to the theater with every stage design. She continues to practice her craft and works to bring different and fresh light elements to the stage life, and always brings the audience from the room to the masterful lighting design.

Max A. Sciarra
New York Art Life Magazine
+1 (646)9610512
[email protected]