Sculptural risers ascending on either side of the performer - curved, tiered forms reminiscent of Richard Serra's monumental steel works. The scenic texture became the bridge between art and stage: a series of ink and charcoal studies, painted by hand, translated into the surface treatment of the risers. Vertical strokes and washes gave the structures depth and life under light, present enough to hold their own yet restrained enough to keep the performer as the center. The studies themselves became part of the process - personal art practice feeding directly into production design. Not decoration but material dialogue, where painted texture and architectural form meet.