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Press

Review: Exhibitor Magazine, “The Best of CES” (Number 5) Lighting and Scenic Design Consulting – Paul Clay

“Color-shifting lighting created a calming oasis… An interactive experience inside the exhibit… created an individualized light and audio show that painted the exhibit’s exterior walls with light and filled the booth…”

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Review: The Guardian (London), “Face Down” Lighting Design – Paul Clay

“So vivid and delicate is the lighting design by Paul Clay…that it makes traditional theatrical atmospheres seem vague and perfunctory in comparison.” – Nicholas de Jongh


Review: The New York Times, “Bessie Awards” Creator category – Paul Clay

 

“creators…who received awards were Paul Clay…”


Review: Off Off Online, “Sea Change” and “Arctic Circle” Lighting Design – Paul Clay

 

“trumping all else is the amazing lighting design by Paul Clay. His rich and powerful use of color and shadow lifts certain scenes to their fullest potential, making them absolutely breathtaking.” -Jessie Marshall


Review: City Life, “M.E.N. Theatre Awards” Set lighting and Video Projections Design – Paul Clay

 

“Contact Theatre excelled with Paul Clay’s brave and brilliant use of live video images
and multiple screens to create a disturbing landscape of fantasy versus reality for Perfect – the
undisputed winner.” -Diana Stenson


Review: Back Stage “Breath on the Mirror” Lighting and Video Projections Design – Paul Clay

 

“Paul Clay’s mesmerizing live projections, which cast simultaneous distortions of video footage from the performance onto draperies. These result in several unforgettable stage compositions” -Mitch Montgomery


Review: Lighting Dimensions (Live Design) “The Model Apartment” Lighting Design – Paul Clay

 

“The striking result was a lighting design seemingly naturalistic, yet so fluid in its use of light and shadow that one could hardly believe it was done almost entirely with practicals.” -David Barbour


Review: American Theatre “Bessie Awards” Creator category – Paul Clay

 

“among recipients in the creator category were Paul Clay, a video designer for many Mabou Mines productions” -Penny Boyer


Review: City Limits “Face Down” Lighting Design – Paul Clay

 

“Deliriously beautiful…” -Steve Rogers


Review: ARTnews “When We Came” VIdeo Projections – Paul Clay

 

“Video artist Paul Clay provides streaming-video shows for dance clubs when he’s not making his own art videos”-Barbara Pollack


Review: The New York Times “When We Came” Video Art – Paul Clay

 

“…video samples and mingles images, music, text, and data from videotape, live cameras, sound recorders and computers at…a dizzying pace. …This imagery adds a density of thought, a clarification of purpose and powerful sense of place”-Benjamin Genocchio


Review: CultuurPodium Opera “La Commedia” Set Design with projections – Paul Clay

 

“a range of media is used to tell different stories. The result is an overwhelming experience… For the opera, the Carre [theatre] is transformed into a Purgatory that, in the vision of Hartley [Director] and Paul Clay (scenography), is a kind of Pernis [Dutch petrochemical refinery town], where all people and systems are all moving” -Annemiek Barnouw


Review: The New Museum Curators Picks”You Are Here” Art Installation for Diesel Denim Gallery – Paul Clay

 

“You Are Here, a site-specific work in Diesel’s retail boutique-cum-gallery space created by the collective Fictive, skillfully exploits these similarities while calling attention to the relationships between galleries and boutiques, art and fashion, desire and consumption. …Founded by multi-media artist Paul Clay, Fictive uses many of the same elements employed by Diesel’s own advertising: pie charts, graphs, and glossy oversized photographs. Perhaps most importantly, You Are Here also employs a similar sense of irony.” -Erin Barnett


Review: The Guardian London “Dark Water Closing” Lighting Design – Paul Clay

 

“a quietly atmospheric sonata in sound and light…sensitively lit by Paul Clay” -Kenneth Rea


Review: The New York Times “Mother” Set and Lighting Design – Paul Clay

 

“…a multimedia collage that is memorable, exhilarating …The audience sits in seven working kitchens that surround the performance space and are complete with refrigerators that can be raided for beer and soda, microwaves to pop popcorn in and televisions with minds of their own.” -D. J. R. Bruckner


Review: Time Out London “The Empire” Lighting Design – Paul Clay

 

“clever atmospheric lighting” -Sheila Burnett


Review: The New York Times “Breath on the Mirror” Lighting and Video Projections Design – Paul Clay

 

“Paul Clay’s video designs feature some nice moments, including a ghostly dance” -Claudia La Rocco


Review: Village Voice “Wild Ancestors” Lighting Design – Paul Clay

 

“Paul Clay’s lighting in not accompaniment but accomplice – obviously the result of a fiercely collaborative process” -Deborah Jowitt


Review: Village Voice “Skin” Set, Lighting, and Video Design – Paul Clay

 

“a large, ambitious production…They’ve divided Soho Rep lengthwise with a five foot high barrier that resembles a beach wall… The show uses jagged lighting, rock music samples, and video cameras …flashy and kinetic” -Brian Parks


Review: The Bronx Times “MetroPoles” Experimental group art Exhibition – Paul Clay

 

“a mishmash of paint, video, and tactile media… Clay took photos and translated them into a non-fiction comic strip” -Daniel Beekman


Review: Tema Celeste “When We Came” Video Art – Paul Clay

 

“Paul Clay, When We Came” [image of the video art installation] -Micaela Giovannotti


Review: Theater Week “A Window on the Nether Sea” (With Lora Nelson) Co Creation, Set and Lighting Design – Paul Clay

 

“a cutaway view of an East Village railroad flat perched over a pool of water filling the entire performing space… impressive presence…there are seven tons of water” -John Bell


Review: The Phoenix “Victor Frankenstein” Lighting Design – Paul Clay

 

“Visually, the work preserves the darker sensibilities of the original with its lighting, designed by Paul Clay, that casts looming sharp shadows” -Tom Wachunas


Review: New York Press “The Model Apartment” Lighting Design – Paul Clay

 

“The excellent actors turn on a dime, and the director guides them expertly…  and Paul Clay’s clean lighting help[s] a lot.” -Don Shewey


Review: The Guardian (London) “Perfect” Set Lighting and Video Projections Design – Paul Clay

 

” so full of screens, video monitors, music and live action… [yet it] …integrates the technology fully into the narrative rather than merely using it as a flashy add-on. …a real examination of fantasy and reality.” -Lyn Gardner


Review: The New York Times “North Wind” Set Lighting Design – Paul Clay

 

“Paul Clay’s lighting enhance the simple yet sophisticated mood of an occasion that is full of surprises” -Walter Goodman


Review: City Limits “Dark Water Closing” Lighting Design – Paul Clay

 

“…flashing lights with seeming autonomous lives of their own.” -Carole Woddis


Review: Village Voice “Walter’s Finest Hours” Paul CLay – Lighting Design

 

“…Paul Clay’s lighting amplify the fantasies.” -Deborah Jowitt


Review: Village Voice “A Dry and Thirsty Land” Set and Lighting Design – Paul Clay

 

“The set design by Paul Clay, an expressionist trailer in shades of grey and shards of glass, is a sign of hope” -Julie Phillips


Review: Village Voice “Bessie Awards”  Creator category – Paul Clay

 

“New York Dance and Performance Awards (the Bessies) Creator Bessies to…Paul Clay.” -Burt Supree


Village Voice “A Window on the Nether Sea” (With Lora Nelson) Co Creation, Set and Lighting Design – Paul Clay

 

“A generation ago Richard Schechner weighed down the stage with tons of sand… Paul Clay…employs seven tons of water far less arbitrarily… Clay’s swelling bursts of light pull us along” -Roderick Mason Faber