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Drawings, Sculpture, & Installations

The Tempest — Directed by Robert G. AndersonProduced by Illinois Theater and the Krannert Center for the Performing Arts

Scenic Design

Chad was honored as the 2013 Guest Artist-in-Residence with the Department of Theater at the University of Illinois where he collaborated with director, Robert G. Anderson, to stage an environmentally responsible production of William Shakespeare’s final play, The Tempest.

The topography of the island was inspired, in part, by particular industrial and societal practices of environmental manipulation through the piling of excess materials – dredged materials, garbage, vehicles, etc. – rendered from the landscape and then returned as forms mimicking familiar topographic or geological formations – reconstituted islands, garbage dumps, junk yards, etc.

The varied contours of the stage allow for a nuanced use of elevation as a storytelling tool that helps to communicate the power struggles present throughout the play. Prospero begins the play atop the hill in a position of power and makes his descent by the end when he gives the island back to Caliban.

The design takes advantage of the University’s deep reserves of stock platforms to create a landscape that takes on the look and feel of a spectacular dump – isolating in its monumentality. The piles serve as a playground for exploration by the characters and allows for dramatic lighting and sound opportunities. The vertical rope connections provide a sense of continual change as controlled by Ariel(s) as they move deeper into the island.

Directed by: Robert G. Anderson
Scenic design by: Chad Tyler
Lighting design by: Joseph Burke
Costume design by: Kaitlyn Day
Projection design by: Chad Tyler with stop-motion animation by Jowita Wyszomirska
Sound Design by: Bradford Chapin


Projection Design



As a Guest Artist-in-Residence with the Department of Theater, I designed a series of digitally projected backdrops in collaboration with Jowita Wyszomirska for a staging of “The Tempest”, directed by Robert G. Anderson and produced by the Krannert Center for the Performing Arts and Illinois Theater at the University of Illinois, Urbana-Champaign.

Working from a series of simple storyboards and concept sketches, Jowita Wyszomirska began to translate her traditionally static drawings into a series of dynamic stop-motion animations for this production. Jowita produced some 20,000 photographs through the course of her drawings that were then edited and manipulated with digital animations and effects. The projected backdrops measured 50’w x 30’h and when combined with the sculpture on stage created a monumental landscape that progressively grew throughout the entire 3 hour experience of the Tempest.

The projection design intent was to create a sense of time comparable to the “real-time” action of Shakespeare’s script. The growth and movement of the animations are, at times, barely perceptible but always present, and felt by the audience in the 600 seat theater, even if only subconsciously. By design, the projections, like the scenic design never compete for attention with the actors but provide a sense of magic, surprise and grittiness.

Projection Design, Editing, and Digital Animation: Chad Tyler
Stop-Motion Animation: Jowita Wyszomirska



Herd, preparatory works — 2012-2013

“Herd” is a series of forthcoming site-specific installations to take place on a number of interstitial sites along the railroad corridors between Baltimore and Washington DC.



Untitled series — 2012

The works within the Untitled series are the result of recent explorations with plaster in preparation for the “Herd” project. The small works are meditations on the concepts of “extraction” and “remnants.”



The General State of Things — 2012

“Animal Kingdom: The General State of Things” is a closely choreographed scenic composition pitting two dancing tribes of iconic African game in a contest of intimidation and ostentation – much like the labors of coexistence in the natural, social, and political landscapes.




There’s a Rhinoceros in the River — a Public Art Installation along the Jones Falls River — Baltimore, MD — 2011

This project was inspired by Stephen R. Kellert’s musings on E.O. Wilson’s Biophilia Hypothesis. The concept was based around a perceived chronological parallel between the establishment of the Baltimore Zoo and the environmental degradation of the Lower Jones Falls during the Woodberry-Hampden industrial expansion of the mid to late nineteenth century.

It was installed in conjunction with the Rotating History Project’s “Same River Twice” exhibition at the G-Spot Gallery and was on display along the bank of the Jones Falls River between April and August of 2011.






Forest Follies, preparatory works — 2011

Studies 1-10 for the forthcoming series of site specific installations, “Forest Follies,” examine a variety of methods in form and allurement. Each individual drawing explores a unique, potential composition for translation into more accurate 3D models. The models, accompanied with detailed site surveys, will be translated into full scale sculptures incorporated into the natural environment in a variety of locations.



Not Quite — Choreography by Paul SinghKrannert Center for the Performing Arts

“The Forest of Not Quite” is a filtration system preventing both the protagonist and the audience from reaching the clarity they both desire. This sculpted environment was incorporated into a performance, choreographed by Paul Singh, titled “Not Quite”, premiered at the Krannert Center for the Performing Arts in Urbana, IL.


Ectype — Choreography by Kim YoungKrannert Center for the Performing Arts

Sculpted from deadfall and pine stock, the set for ?Ectype? served as an interactive backdrop. The installation seeks a balance between the controlled organicism of Kim Young?s choreographic relationships with the relationship of the natural and the built environments.

The Untitled Sculpture was created as an interactive work for the performance, “Ectype”, choreographed by Kim Young and premiered at the Krannert Center for the Performing Arts in Urbana, IL.


Richard II — Directed by Robert G. AndersonProduced by Actor’s Revolution Theater

Richard’s fluctuating public and private identity are accentuated through the fast paced and malleable system of translucent curtains in the set design for Shakespeare?s historical drama, ?Richard II?. Combined with soil infused geometric planes and elevation changes, the system creates a versatile and dimensional playing space for both the actors and the audience, while emphasizing the process of stripping Richard to his natural essence.

This sculpted environment was created for the Actor’s Revolution Theater’s production of “Richard II” written by William Shakespeare, and directed by Robert G. Anderson. It was performed at the Mary Arrchie Theater in Chicago, IL.