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CLASS of ‘24

ARTS & ENTERTAINMENT PORTFOLIO

Based in

AUSTIN, TX

OZZIE

LASK

OZZIE

LASK

ABOUT

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CLASS of ‘24

I’ve always been interested in creative expression and storytelling, so I decided to pursue my high school degree in technical theatre at LaGuardia High School's program where I was accepted and attended my Sophomore year. When my family had to move to Austin, I shifted my focus to the theatre department at Austin High where I focused more on lighting design, but I also gained experience with set design, sound and set construction. I have continued to pursue my interests in mixed media artforms like painting, photography and environment design, taking classes in painting and working as an AV intern. With self-taught skills editing in Premiere and learning other CG programs, I am now looking forward to studying new ways of using technology to tell stories through art. In particular, I am fascinated by the potential of game design and is eager to discover more about it. Overall, I hope to use my knowledge and creativity to push boundaries and create work that inspires others.

OZZIE

LASK

Education

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CLASS of ‘24

Stephen F. Austin High School

Technology & Design ACADEMY: 2021-2024

Graduating Spring 2024 3.6GPA

Fiorello H. LaGuardia High School of Music & Art and Performing Arts

Technical Theatre : 2020-2021

OZZIE

LASK

THEATRE PROJECTS

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CLASS of ‘24

THE CRUCIBLE

SET DESIGN

As the set designer for "The Crucible," I aimed to craft a visually compelling metaphor for the play's intense themes of witch hunts and the burning of supposed witches. The flooring, designed with wide slats, serves as a symbolic representation, allowing the audience to glimpse the fiery turmoil beneath, heightening as the play's intensity escalates. This subtle visual cue mirrors the societal flames of paranoia and hysteria. Embracing minimalism, the set intentionally avoids distraction, placing a spotlight on the characters' intricate development and moral dilemmas. The stark simplicity underscores the raw emotional power of Arthur Miller's narrative, ensuring that the audience is immersed in the gripping exploration of truth, deceit, and the destructive consequences of unfounded accusations.

HOLY GHOSTS

LIGHTS

UIL One-Act Play

Directed by Billy and Annie Dragoo

Photos by Frank Webster

Lighting Design: Ozzie Lask

The lighting design in "Holy Ghosts" was carefully crafted to emphasize the drama of the narrative. Subtly shifting between light and dark tones, shades of earth, and vibrant hues, the illumination acts as a visual cue for the audience's journey through the characters' spiritual struggles. A range of luminosity and colour suggest intimate moments of reflection as well as frantic climaxes.

KING o’ the moon

LIGHTS

UIL One-Act Play

Directed by Billy & Annie Dragoo

Photos by J. Frank Webster

Lighting Design: Ozzie Lask

In "King o' the Moon," the lighting design was a subtle journey through a day's transitions. Beginning with a soft morning glow, subtle cues like warm hues and gentle shadows created an authentic sense of dawn. As the scenes progressed, the lighting subtly shifted, mirroring the gradual journey into evening. Realistic nuances, like the softening of light and strategic placement of shadows, provided an immersive experience, with focus on the residual lighting from the TV when important.

Picasso at the

lapin agile

LIGHTS

Directed by Annie Dragoo

Photos by J. Frank Webster

Lighting Design: Ozzie Lask

In "Picasso at the Lapin Agile," the lighting was meant to capture the cozy Parisian café in a warm glow, adding a touch of 1904 charm. As the characters riff on life's quirks, the lighting plays along, highlighting the funny and profound moments. It was a subtle shift of shadows and highlights, turning the stage into a canvas. The lighting design becomes a character, enhancing the play's clever mix of intellect and humor.

MAMMA MIA!

SOUND

In rehearsals

Directed by Annie Dragoo

Photos by J. Frank Webster

Sound Design: Ozzie Lask

Mamma Mia! was a rewarding challenge to create a sound environment that complemented vibrant ABBA tunes and enhanced the overall theatrical experience. Working closely with the production team, I focused on scene transitions and balancing vocals and instrumentals. The goal was to transport the audience to the heart of the Greek island setting through carefully integrated sound effects.

OZZIE

LASK

CREATIVE

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CLASS of ‘24

CREATIVE OUTSIDE OF THEATRE

As someone who loves painting and photography, I am always captivated by the stories that space tells. Being able to capture an image in such a way that it can have a deep emotional impact is particularly intriguing to me as I explore my future career path. With each image, I want to tell a story that goes beyond just the scene itself and touches something greater. Photography and painting give me the opportunity to craft words and feelings through imagery, which is something I am passionate about exploring.

OZZIE

LASK

Contact

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CLASS of ‘24