Gregory Gale is a graduate of the Fashion Institute of Technology and is well known for his character-driven designs.
In 2009 he was nominated for a Tony Award for Best Costume Design of a Musical for Rock of Ages. He was also nominated for a Tony Award for Best Costume Design of a Play in 2008 for his work on Cyrano de Bergerac.
In 2007 Gale won the Lucille Lortel Award for Outstanding Costume Design for his work on The Voysey Inheritance. He was also nominated that same year for his work on The Milliner.
This golden jeweled mask incorporates several of my favorite design motifs: merging design inspirations; layering and collaging textiles, trims, and findings; and recycling and reusing existing materials.
When I decided to design this new mask, I also created a challenge for myself: all materials must come from my collection and archive. From there I set forth.
I originally designed this mask for the Act I theater scene in “Cyrano de Bergerac” revived on Broadway. The mask was made in Italy under my specifications and covered in red and black three-dimensional diamonds and an assortment of gold trims.
To create the new mask, I stripped it down to its base then painted and splattered in with several tones of gold metallic paint. The next step was embedding it with vintage and new jewelry and bric-a-brac.
Rows of beads and findings mixed with oyster silk and metallic fringe were incorporated into tassels purchased years ago.
On the side of the mask are ties and cocardes made from vintage velvet ribbon which I beaded with diamond-shaped motifs.
Creating this mask helped remind me that there is a big gorgeous world out there, and together we will definitely get through this pandemic.
Under the leadership of Artistic Director Barbara Gaines and Executive Director Criss Henderson, Chicago Shakespeare has redefined what a great American Shakespeare theater can be—a company that defies theatrical category. This Regional Tony Award-winning theater’s year-round season features as many as twenty productions and 650 performances—including plays, musicals, world premieres, family programming, and presentations from around the globe.
The work is enjoyed by 225,000 audience members annually, with one in four under the age of eighteen.
Chicago Shakespeare is the city’s leading presenter of international work, and in touring its own productions across five continents has garnered multiple accolades, including the prestigious Laurence Olivier Award.
Emblematic of its role as a global theater, the company spearheaded Shakespeare 400 Chicago, celebrating Shakespeare’s legacy in a citywide, yearlong international arts and culture festival, which engaged more than 1 million people.
The Theater’s nationally acclaimed arts in literacy programs support the work of English and drama teachers, and bring Shakespeare to life on stage for tens of thousands of their students each school year.
Over the summer, the company tours a professional production of Shakespeare’s work, free for all, to neighborhood parks across the city.
In 2017 the Theater unveiled The Yard at Chicago Shakespeare with its innovative design that has changed the shape of theater architecture. Together with the Jentes Family Courtyard Theater and the Thoma Theater Upstairs, The Yard positions Chicago Shakespeare as the city’s most versatile performing arts center.
5, 4, 3, 2, 1…SIX masks! These masks were made in collaboration with Bob Kuhn and the Costume Crafts Supervisor, Melissa Bochat, from Chicago Shakespeare Theater’s costume shop.
They are inspired by the costume design of Gabriella Slade for SIX! the musical. The Chicago Shakespeare Theater costume shop built the costumes for SIX for its North America debut in 2019.
From Chicago the show went on to tour North America. On March 12th, 2020 SIX was hours away from opening on Broadway when Broadway went dark due to Covid-19.
SIX is a global phenomenon that has captured the hearts of queens and kings everywhere. Even thought the queens got themselves some new costumes for Broadway this show has a special place in our hearts at the CST shop.
Each mask that you see was inspired by the queens themselves. They are tie-on masks made from 100% cotton. They are painted to match the lattice detail that is on each queen’s costume. Of course we can’t forget the sparkle! Like the queens these masks are one of a kind, no category.
There is N-N-N-N-N-N-No-way these queens won’t reign again. Remember they’re unbreakable.
James Ortiz (Director, scenic and puppet designer) Based in New York City, James is a cross-disciplinary designer, performer, writer and director who’s most known for his Off-Broadway creation, The Woodsman, which earned him a 2016 OBIE award for puppet design.
Most recently, James’s gigantic puppet designs graced central park’s Delacorte’s stage in the Disney/PublicWorks production of HERCULES.
Previous credits include: The Public Theatre, Yale Rep, Carnegie Melon University, Dallas Theatre Center, Theatre for a New Audience, Shakespeare Theatre of DC, Opera Saratoga, Soho Rep, Naked Angels, Skylight Music Theater, New World Stages, Ars Nova, and 59e59. 2017 Eugene O’Neill residency recipient, 2015 and 2019 Jim Henson foundation Grant awardee and Co-Founder of the devised theatre group, Strangemen & Co.
A taping was made for PBS of James’ show,The Woodsman, which is currently available for streaming on Amazon Prime via BroadwayHD.
Worbla, foam clay, epoxy sculpt
Splashy 1990s Marvel comic supervillains, H.R. Giger, and science fiction cinema are never too far away from my pool of influences. Here’s a colorful love letter to all of those fun and frightening inspirations.
Straps can be added at Auction close at bidder’s request.
Elizabeth Wislar artist, is a mix-blood Choctaw/Lenape member of the Cherokee Nation, a multi award-winning Costume Professional, a large scale textile Artist, a wage equity Warrior, and Instructor.
The mask is created in the style of the Cherokee booger mask which was traditionally accompanied by bawdy merriment and stomp-dancing. Masking is used for spirituality, healing, celebration, and storytelling entertainment in native communities.
The booger mask is for entertainment, and its use is confined to the fall and winter when the spirits go underground and are not around to be offended.
The name booger comes from the white settlers that lived around the Cherokee settlements; it is slang for the assumed activities of the native peoples as they danced and entertained.
These masks represent social satire, outsiders, and most notably: a disrupter. As a self-proclaimed instigator, the artist is particularly drawn to the notion of disruption through entertainment.
Erik Teague is a freelance Costume Designer based in Alexandria, VA. A native of Cartersville, Georgia, he attended Kennesaw State University where he received his Bachelor of Arts Degree in Theatre and Performance Studies and went on to receive his Master of Fine Arts degree in Costume Design from Boston University.
He is a two time National Kennedy Center American College Theatre Festival Barbizon Award recipient for excellence in Costume Design. In 2019 he won the Helen Hayes Award for Outsdanding Costume Design for The Trial at Crystal City Theatre.
Some designs of note are The Flying Dutchman and Ariadne in Naxos for the Glimmerglass Festival, The Lion, The Unicorn, and Me at the Washington National Opera, Navigator at 7 Stages Atlanta, 1001 Nights with the Center for Puppetry Arts, and Assistant design/Millinery for The Emperor of Atlantis with Boston Lyric Opera. team.
As a Costume Designer, I often look to the aesthetics of the past to analyze contemporary issues. In that regard, this project has been no different.
Blending themes of loss, beauty and protection, this mask is inspired by the opulence of Victorian mourning attire and the grotesquerie of early forms of protective equipment.
I wanted to combine something as jarring as the silhouette of a traditional 17th century Plague Doctor with something as delicate and refined as a 19th century mourning bonnet. Together they create a macabre fantasy inspired by the past to help process the present.
The mask is made of quilted black vinyl, jet beaded ’tear drop’ fringe and beaded motifs with purple iridescent lenses. The headdress is a black straw mourning bonnet ornamented by pleated chiffon, pleated grosgrain ribbon, rosetted satin ribbon, black coque feathers, an ostrich plume and beaded appliqués.
Beowulf Boritt is currently represented on Broadway by Sankoff & Hein’s Come From Away directed by Chris Ashley. He designed the Tony Award® winning set for James Lapine’s Act One. He has also received Tony Award® nominations for his designs for Evan Cabnet’s production of Therese Raquin and Susan Stroman’s production of Kander and Ebb’s The Scottsboro Boys.
He designed David Thompson’s Prince of Broadway and Alfred Uhry’s LoveMusik on Broadway for Harold Prince. He designed Stephen Sondheim and James Lapine’s Sondheim on Sondheim and Finn and Sheinkin’s The Twenty-Fifth Annual Putnam County Spelling Bee both directed by Mr. Lapine.
He designed Steve Martin’s Meteor Shower directed by Jerry Zaks and Menken, Slater, and Palminteri’s A Bronx Tale co-directed by Robert DeNiro and Mr. Zaks.
Other Broadway shows include Lin-Manuel Miranda, Thomas Kail, and Anthony Veneziale’s Freestyle Love Supreme, the New York and Russian productions of Chaplin for director Warren Carlyle, John Rando’s revival of On The Town, Rob Askins’ Hand To God directed by Moritz Von Stuelpnagel, and the long running Broadway and international hit Rock of Ages directed by Kristin Hanggi.
The show that’s all about strangers coming together warns you to stay away, for now!
Bronx Tale Robert De Niro “Fuck Trump” mask. I’ve been making and wearing simpler versions of this for weeks. Sent a picture of one to Bob who was amused by and approved of it.
Since 1990, Euroco has been producing quality costumes and fabrics for a wide range of clients. Though we specialize in Broadway shows, constructed for all the rigors and demands that these garments require, Euroco has a reputation for quality, style and attention to detail.
Created with fabrics from the Elephant Love medley, this traditional decorative theater mask is the comedy mask, but the smile is hidden by a removable covid mask that can be worn. The colors imitate the clear night sky, it’s infinite possibilities.
Recent theatrical work: Midwives (world premiere based on book by Chris Bohjalian at George Street Playhouse), Native Gardens (Syracuse Stage/Geva Theatre/Portland Stage), Little Girl Blue (George Street Playhouse), Into the Woods (Hangar Theatre), Holiday Inn (Finger Lakes Musical Theater Festival), Always Patsy Cline (FLMTF), Guys and Dolls (FLMTF). Opera work includes I Due Figaro (Manhattan School of Music), The Prince of Players (Houston Grand Opera-world premiere), The Barber of Seville (Opera Philadelphia, Opera Theatre of St. Louis, Opera Omaha, Virginia Opera- and continues to be performed around the US).
Film work includes The Trial of the Chicago 7 (to be released 2020), Cavan, Summer Fridays.
Broadway Associate Design Work: Macbeth, Nice Work If You Can Get It, Man and Boy, How to Succeed in Business Without Really Trying, Million Dollar Quartet, The Miracle Worker, Ragtime, and 33 Variations.MFA in Scenic Design from NYU Tisch School of the Arts. BA from Dartmouth College.
Every show that I get hired for begins the same way – before I do anything I spend some time building a model box of the space and getting to know the theater so I wanted a mask that was based on a model box of a theatrical space.
Along with the model box of the theater, I always make some generic chairs so that I can start thinking about design and movement in the space so I built a couple of quarter inch scale chairs for this mask also. They are loose so whoever gets this can play around with the arrangement like we do during a typical design process!
I have always been fascinated by the performer/audience relationship in live performance. Even though the physical relationship between performer and audience is usually the same, the audience member can be an objective observer, a confidant, or sometimes even a co-conspirator for the performer on stage.
Putting the wearer of the mask in the model is yet another variation of the relationship of the performer and the audience. Is the mask wearer scenery? Or the performance?
Another thought is that by wearing a mask we become anonymous in some way so can observe the world around us “unseen”… so does that make the wearer of the mask an audience member? Maybe all three at once in some way?
McLane has designed more than 350 productions at theatres throughout the United States and around the world, for Broadway, Off-Broadway and major live television. He won a Tony Award for ‘33 Variations’ and Emmy Awards for the 2014 Oscars + ‘Hairspray Live!’ and an Art Directors Guild Award for his 2014 design of the Oscars.
Broadway credits include: Moulin Rouge! (2020), A Soldier’s Play (2020), Gigi (2015), Beautiful: The Carole King Musical (2014), 33 Variations (Tony Award, Best Scenic Design 2009), Grease, The Pajama Game (2006 Tony Nomination); The Threepenny Opera, Little Women, I Am My Own Wife (Tony Award, Best Play); Intimate Apparel (2005 Lortel Award), Barefoot in the Park, Lestat, The Women, Present Laughter, London Assurance, Holiday, Honour, Summer and Smoke, and Three Sisters.
I was struck by the anonymous nature of face masks; that it is hard to clearly see the person with half their face covered. And since the pandemic began, I’ve taken up painting. So I attempted to paint the part of my face that was obscured by the mask. The mask is not an ideal painting surface and it hardly matches mine or anyone else’s face. But I liked the whimsy of the idea.
Based in Indiana, I have worked in theatre and related adjacent fields for the past 20 years. I make things. I have worked as a designer, fabricator, rapid prototyper, sculptor, painter and so much more. More recently I have been involved in comics and I make art and write as a hobby and passion.
This piece is created entirely from comic book backer boards. It has an elastic strap with Velcro closures. It is a multi media mask based on Marvel’s Doctor Doom.
With the despair the pandemic has created I felt it was appropriate to create a mask that allowed someone to be projected as superhuman by wearing it. We can all be heroes or villains the choice is ours
A New York based costume designer for stage and screen, Genevieve believes that theatre matters because people matter.
In addition to her design work, Genevieve is a founder of Costume Professionals for Wage Equity where she dedicates her time and talents to outreach, education and alliances with theatre artists and institutions who share her goal of creating a more diverse and equitable theatre landscape through Wage Reform. The organization currently hosts 1000+ members and is well on its way to becoming a force for change in the entertainment industry.
In her spare time, Genevieve does her part to subvert gender stereotypes by creating and selling “Candi Staches,” hand-tied glitter mustaches in a variety of colors and styles for self-expression beyond the binary. She makes her home in New York among a vibrant community of storytellers, artisans and bodega cats.
I made this mask one evening when I was frustrated and restless from making my weekly quota of 50 cotton masks for local hospital workers. It is rewarding to have one’s skills be needed; but I needed a creative outlet…and I had a David Bowie song stuck in my head.
Dr. Stardust came to me in a waking dream around midnight and I ended up spending the rest of the early morning hours creating them because I knew I would not be able to sleep until this existed.
Not long after, I conceived of the MasquerAID fundraiser. The goal of the project is to give designers and artists a chance to stretch their creative brains while providing much needed support to our industry.
This mask is made entirely from recycled materials. Its composition includes cracked leather, glitter vinyl and plastic and elastic remnants.
Courtney is a freelance Costume Designer and Wardrobe Technician. She is currently an MFA candidate in Costume Design at the University of Illinois @ Urbana-Champaign. In 2014, she received a Bachelor of Arts from Northern Michigan University in Theatre, French, and English.
She seeks out projects with an emphasis on family structures, LGBTQ+ history, women’s equality, and environmental focus. Courtney enjoys the challenge of designing for new works and Up-cycling.
Although I have always been a lover of fashion and clothing, I began building and designing costumes for theatre mainly when I began university. I enjoy a challenge–whether it be an actor challenge or a budget challenge–and creating the perfect look for a production. I meet deadlines and exceed expectations, and enjoy working in a plethora of fields with different designers, technicians, and directors.
Over the past 8 years, she has worked in a variety of venues including university theatre, tours, Off-Broadway, Equity houses, theme parks, regional and community arts centers, and high school drama programs across the country including NYC, Michigan, Pennsylvania, Illinois, Nebraska, and Maine.
Recent Costume Designer Credits include: Titus Andronicus, Mamma Mia!, The Cherry Orchard, The Hunchback of Notre Dame, Peter and the Starcatcher, A Long Day’s Journey Into Night
This mask features a scene from the shores of the Great Lakes, which are the gems of Michigan. I would frequently walk along these shorelines during quarantine, The sky never seemed bigger than on a starry evening.
On the reverse side is the phrase “That Woman from Michigan,” which applies to the political side of Covid-19 in Michigan, when President Trump tweeted critically about Governor Gretchen Whitmer’s lifesaving decisions about stay at home orders in Michigan.
Those of us in support of Whitmer made t-shirts and accessories with this phrase, adopting it from a negative source into an encouraging mantra.
Being a woman from Michigan myself, I am inspired by strong woman leaders like Gretchen Whitmer who keep doing the next right thing and moving forward regardless of overwhelming personal and violent threats.
This mask features hand-painted lace, cut foil and vinyl designs and 3 different 100% cotton fabrics. Ties are 18 inches long of Ivory Herringbone Twill Tape. Sides are open for filter insert.
As a circus and theatrical costume designer/technician and PhD student in Apparel Design, I wanted to use my skills in sewing and functional design to make something meaningful out of the chaos of the pandemic and quarantine.
I’ve been revisiting past costume designs through creating art masks, exploring handcraft techniques and using the process to center my artistic practice on making. When I saw the call to artists for the MasquerAID Entertainment Relief auction, I knew immediately that I wanted to get involved.
As the pandemic has devastated the live entertainment industry, so too has it resulted in financial hardship for many people in my professional and social circles – many of whom have benefited from the resources provided by The Actors Fund. I think that if we have the capabilities to help by using our skills and talents to aid others when we are able, then we must find a way to do so.
The design behind this mask comes from a wearable art garment I created in my graduate studies, inspired by a circus ringmaster’s tailcoat and top hat. It featured tailoring, millinery, and hand beading. In this mask, I recreated the beading details with original materials atop a neoprene base.
Thom Sirkot,is costume designer and shop manager at the Bloomsburg Theatre Ensemble, He is a passionate creator working in the arts throughout the Eastern Pennsylvania region.
This mask is influenced by battle armor and the masks currently being made for donation to hospitals and at risk workers across the country. Having made and donated 500 masks and counting to the cause, it was an instinctual thought to create a mask in this style representing the safety and battle we fight every day when we leave the safety of our homes for necessary reasons.
Created by a costume designer facing inevitable postponement and the challenge to source materials, the mask has been made from materials already on hand. Reversible sequin fabric from what would have been the current production was used to create the actual face mask. The mask is embellished with large crystals to represent the bright lights that we hope to return to while some the stones have been tarnished and stripped of the reflective backing to pay tribute to the productions and the theaters that have lost their opportunity to shine thorough these challenging times.
Finally, a shroud of chainmail created from safety pins represents the safety and protection of wearing a mask when venturing to public spaces. The hood cascades into six foot tendrils representing the social distance we struggle to maintain. This is my “Armor Against the Invisible Enemy”.
Love itself is an action. There are unlimited ways to show love, to participate in love, and to receive love. Today the easiest way is to wear a mask. I have lived on the opposite side of the country from my family for over a decade now. My mother religiously sends me cards and I’ve lost count of how many are floating around between books, in boxes, framed, or standing on my shelf everyday reminding me that I am loved. These cards are what influenced the creation of my mask.
The front of the mask is embroidered with the closings of cards I have received over the years from my mother and sister. Some go back to before 2010. It was such a wonderful feeling to go back through all those cards from holidays, events, and even just Tuesdays and to see the physical manifestation of my mother’s love over time and distance.
When a mother can’t hold you with her arms she holds you with her words.
With each “I Love You” that I embroidered I was able to surround myself in memories. At times like this when distance is our greatest weapon and masks our strongest armor these words are a talisman. Each time this or any mask is worn it is an act of love. It is saying to our neighbors that though I cannot hold you I love you..
All of the “I love yous” are embroidered in white on white. You can’t see it from a far, but it’s there, entwined in the fibers. Words of love in an act of Love. The thread was my mother’s, she sent it to me so that I could use it – in an echo of my childhood. My mother used to have hobbies and then she had kids. One of those was cross-stitching and it felt so appropriate to use the embroidery floss that my mother gave up, for love, to create a new object of love.
The interior of the mask includes the names* of friends who have been impacted by Covid-19. People for whom I wear a mask. The names include those who are at high risk: a nurse, a cancer patient, older individuals, carers. It also includes names of those who have survived the disease and sadly those who have not.These are the names that will only be seen by the wearer. I don’t need to know why someone is wearing a mask, but I know that when they do it is for Love.
*Names can be added for the auction winner prior to shipping
This mask was inspired by both the masks that plague doctors wore in the 17th century and the masks we’re all making to protect ourselves from COVID-19.
It’s a modern take featuring quilted fabric instead of leather, and a fun red and black print. And as far as masks go, these are incredibly easy to breathe in since there’s so much room in the beak area. It can also be made as fragrant as the original plague masks by placing a little fabric infused with essential oils into the beak.
I’m a big fan of zero waste crafting so this piece was made from assorted scraps and bits I found around my house. The outer fabric, a 100% Dutch wax batik cotton, was originally chosen by Constance Hoffman for the coat worn by the fearful Captain Hook in the Alley Theatre’s 2010 production of Peter Pan, while the inner fabric is from an unused 100% cotton pillowcase.
The other pieces include hardware leftovers from some quilted bags, scraps of cotton quilt batting, extra plastic curtain grommets, and lenses from a broken pair of sunglasses. As a bonus, the scraps from this mask have gone into a pile of fabric scraps to make pillow forms!
Christopher Metzger is a Brooklyn based designer working in all facets of live performance, film and television.
Design credits include: Little Gem (Irish Repertory Theatre), Suor Angelica and Der Kaiser von Atlantis (Montclair State University, Cali School of Music), La Traviata (Philharmonia of New York), Harlequin & Pantalone, with Bill Irwin and The Dorrance Dance Company, West Side Story (Sioux City Symphony), Tosca (Opera Roanoke), Outlying Islands (Sugarglass Theatre; Dublin, Ireland), Elijah (world premiere, Bristol Valley Theatre), Sehnsucht (Jack Arts Center), The Healing (world premiere, TBTB), and Mothership (New York City Ballet, Choreographers Institute), and Three Sisters; directed by Mark Wing-Davey (NYU).
Christopher is an Associate Artist with Wheelhouse Theater Company. Productions include: LIFE SUCKS. (2020 Best New Play, Off-Broadway Alliance), Happy Birthday, Wanda June, Enemy of the People, and DANNYKRISDONNAVERONICA.
Christopher is also the resident costume designer for the Cherylyn Lavagnino Dance Company. His work has been seen around the world including; Beijing International Contemporary Dance Festival, Indianapolis City Ballet, Kaatsbaan International Dance Center, American Dance Guild, and Danspace Project. Christopher’s designs for, Ru, werefeatured in the September 2014 issue of Dance Teacher Magazine.
“I’m drawing inspiration from Annie Dillard’s, Pilgrim at Tinker Creek, in particular a passage in which she reflects on patients who are blinded by cataracts, have their vision restored through surgery, and learn to “see” again.
“When her doctor took her bandages off and led her into the garden, the girl who was no longer blind saw “the tree with the lights in it.” It was for this tree I searched through the peach orchards of summer, in the forests of fall and down winter and spring for years. Then one day I was walking along Tinker creek and thinking of nothing at all and I saw the tree with the lights in it. I saw the backyard cedar where the mourning doves roost charged and transfigured, each cell buzzing with flame. I stood on the grass with the lights in it, grass that was wholly fire, utterly focused and utterly dreamed. It was less like seeing that like being for the first time see, knocked breathless by a powerful glance. The flood of fire abated, but I’m still spending the power. Gradually the lights went out in the cedar, the colors died, the cells un-flamed and disappeared. I was still ringing. I had been my whole life a bell and never knew it until at that moment I was lifted and struck. I have since only very rarely seen the tree with the lights in it. The vision comes and goes, mostly goes, but I live for it, for the moment the mountains open and a new light roars in spate through the crack, and the mountains slam.”
Annie writes of her time at Tinker Creek, a time of voluntary solitude, during which she begins to “see” the world around her more intensely. During our quarantine these past 10 weeks I feel a connection to her reflections this time; a time from which we might emerge ready to “see” our own lives a bit more intensely.
The mask itself draws from the “tree with lights in it”. Arches watercolor paper, folded to the shape of a face mask with the tree in silhouette, against a painted sunset wash, gold crystals in the tree branches. Paper and paint, materials made from the earth connect us back to Dillard’s writing, and at the same time the design process; tools used to explore and share what we “see” in the text, translated into clothing.”
Laili Lau is a Venezuelan-born and raised fashion designer, grew up in the ever-green Caracas valley and is current living in Brooklyn New York. With an Asian and Latin American mixed household and her innate sensibility towards textures and color present in nature, she developed a unique style that comes through since she first started sewing garments back in 2005.
After several professional and educational experiences, her apparel brand became a formal entity in 2012.
Her main drive is to reflect the sense of wonder produced by the natural world and the power of femininity.
Laili Lau is a brand characterized by thoughtful design. Since its foundation in 2010, the designer has understood each of her pieces as an artistic extension of herself: throughout various collections, she has unveiled a concept that encapsulates her aesthetic sense, as well as her eco and socially conscious side. The brand has always aimed to be sustainable, ethical and season-lessso that each garment becomes a sort of collectible piece: beautiful, desirable, and durable.
This face mask is made from the scraps of Laili’s February 2020 collection. The patchwork recalls the designer’s unique cultural heritage and commitment to sustainable design.
A visual artist from Latin America based in Brooklyn-New York, his work is centered around popular culture, skateboarding, surfing, naïve art, and uplifting words to try and make the world a bit of a brighter place.
This artist’s paintings and illustrations have been featured in many collaboration projects with clothing, skateboard, and footwear brands, also private galleries and museums in his home country Venezuela, Europe, and the U.S.
After helping out his wife Laili Lau to create pieces for the new York City Face Mask Initiative, an organization that helps to provide face masks for the healthcare workers in the frontlines of the COVID-19 crisis, he decided to join the Masqueraid project mixing his illustration talents and the abilities learned manufacturing masks as a volunteer.