Today we’d like to introduce you to Katerina Vitaly.
Hi Katerina, it’s an honor to have you on the platform. Thanks for taking the time to share your story with us – to start maybe you can share some of your backstory with our readers.
Since I was very young, I knew that my potential was focused and there hasn’t been a doubt of wanting to create and build a successful career in the arts. I always enjoyed taking videos of my life and editing them. When I was at the New School University in New York, I met my mentor who showed me what projection design was and I was in awe to see my animations projected on a large scale. Scale and perspective are still my favorite aspects of the work I do.
Since then, I quickly developed a career as a multimedia artist working in live performance: filming, editing, illustrating, and creating animations. I work primarily with theater, music, and documentary work. My recent work includes projection design for Kenan Fellowship at Lincoln Center, Video editing for Little Amal x Georgetown University, animation and associate design work for Peter Pan (the national tour) with David Bengali, and associate design for El Niño at the Metropolitan Opera alongside Hannah Wasileski.
Would you say it’s been a smooth road, and if not, what are some of the biggest challenges you’ve faced along the way?
I don’t know if a completely smooth road ever existed for anyone, but I’d say I’ve gotten relatively close to it. I’ve had a very lucky run with incredible projects and artists around me. But being a very driven and ambitious artist I had to learn what it is to reach a limit.
Though right now seems like an appropriate moment to suggest to the readers to learn to take it a bit easier, I think we truly only learn through our own experience. We don’t know what the limit is for us until we hit it! That’s been a bump on my road I’ve had to come back one too many times, ha.
Thanks for sharing that. So, maybe next you can tell us a bit more about your work?
My work primarily exists within video design for live performances. I edit, animate, and film different performances around the United States: from Broadway shows to small chamber music.
Over the past couple of years, my work creative highlights would have to be animation for Skin of Our Teeth at Lincoln Center, animation for Create Dangerously at Miami New Drama, and filming Harlem Chamber Players with Nidal Qannari.
Who else deserves credit for your story?
It’s been a fantastic journey. I’ve been blessed to be surrounded by incredible creatives for the past few years; growing alongside them feels so organic and comforting. The mentor I’ve mentioned above is William Cusick, who was the head of the Creative Technologies department at my university and is the reason I got involved with live performance work.
He was the earliest supporter of my work and inspired so much belief in me and my work. We still talk regularly, and I am always impressed by his work with screenwriting, film, and AI.
Contact Info:
- Website: katerinavitaly.com
