Tatiana K. Kahvegian is a set designer and visual artist based in Brooklyn-NY. She is originally from São Paulo-Brazil and is of Armenian descent. Before coming to New York, she worked as a set designer, art director, and assistant art director in films, advertising, and TV series. Before that, she worked as an architect. And way before that, she built maquettes out of paper, scavenged household material, colored pencils, magic tape, and used Lego miniatures as scale figures.
Iphigenia Among the Taurians
The Tauris of this design is rooted in what we western citizens of the 21st century would recognize as a functioning contemporary city, governed by the aboveboard king Thoas. What we see onstage is a dead end street with the rear side and back door of the Temple of Artemis, the building that envelops the goddess’ statue that fell from the sky. This is where the Chorus of captive Greek women work and reside, and where the priestess Iphigenia performs her daily duties as head of the temple and of the ritualistic sacrifice of foreign men. This backstreet receives the street that leads to the outside of the city, and runs along the rear of an apartment building with a passage at basement level that leads to another part of Tauris. A glimpse of the gold covered interior of the temple is seen through its backdoor, through a vestibule that works as a transitional space between the exterior and interior. The space between the mundane and the holy is narrow.
Thesis project, set and costume design
Further Than the Furthest Thing
This story takes place in 1961 on Tristan da Cunha, the most remote island in the world, where the inherent eruption of its volcano forces an isolated community to leave their home and move to industrial England. The design had to deal with specific restrictions imposed by the covid-19 pandemic, which created great challenges, but also many opportunities. In the same way that Tristan da Cunha’s ground of black volcanic sand is pulsing, two big platforms were stirred by the ensemble throughout the show, working not only as a design solution to the problems proposed by the play, the space, and the moment, but also as one of the main storytelling devices.
Written by: Zinnie Harris
Director: Kareem Fahmy
Produced By: NYU Tisch Grad Acting/Design
Venue: The Atlas Theatre
HOLD THIS is a work in progress that I have been developing with Camilla Dely, since we started an Independent Study together in the Spring of 2020. We are creating a short experimental film told in still images together with dancer/choreographer Grace Tong. The piece is an exploration of the nature of devotion in artistic practice, and the representation within and of the female body. What does it mean to be rendered, to be made an image of, by one’s self and by others? The film features one female dancer and an evolving landscape made from paper and charcoal, and it will include original music composed and performed by Gui Duvignau. All images are captured using film rather than digital photography, as an intentional embrace of the “mistake” – or of the oracle of chance.
Created, Directed and Designed by: Tatiana Kahvegian and Camilla Dely
Performer : Grace Tong
Original Music: Gui Duvignau
Venue: Studio 153
Photographer: Tatiana Kahvegian
The inspiration for this design came from late night New York restaurants in the 80’s. That is where the three friends and co-workers PEA, ROE, and STEPHEN meet; where PEA is introduced to the first love (isn’t it a kind of uncontrollable submersion?) and also to the suffocating feeling of the first rejection.
Design Class Project
Written by: Maria Irene Fornés
Venue: The Signature Theatre
A piece created for the United Nations Population Fund (UNFPA) campaign “INVEST IN WOMEN AND GIRLS IN HUMANITARIAN CRISES”.
The video was created under the umbrella of the work I have been developing with Camilla Dely since we started an Independent Study together in the Spring of 2020. The text provided by the UNFPA team was the starting point for the design, which made use of the combination of paper cards, handwriting, and drawing as a storytelling device.