I'm a theatre designer. I'm continuously interested in how visual dramaturgy can have a role in performance, and how aesthetic can be accessible and challenging to diverse audiences through emotional visual connections. I believe in theatre being a democratic space for all, physically, mentally, socially, and politically. I love theatre that is a conversation with it's audience, stories that ask us questions, and work that challenges the form of theatre.
I'm interested in playful and interrogative processes, with a closely collaborative approach to working. 

I also sometimes co-design with Joshua Gadsby. We're interested in how the process of co-designing can result in a more cohesive visual world, and how it can eliminate ego and sometimes arbitrary role boundaries, especially in the process of collaborating with other creatives.


Design credits include: The Greatest Play In the History of the World (Royal Manchester Exchange), And Yet It Moves (Young Vic, Taking Part), Trap Street (New Diorama), dreamplay (co-design, The Vaults), In My Dreams I Dream I’m Dreaming (Theatre Royal Plymouth), OUT (The Yard, Underbelly, & European Tour), Voodoo (original design by Charley Fone, Sadlers Wells), FEAST (Battersea Arts Centre), Rise: Macro vs. Micro (Old Vic New Voices), Then (Soho Theatre and Australian Tour), Majesty (Battersea Arts Centre), Trigger Warning (Tate Modern), The Shape of the Impossible (with National Theatre Young Studio, National Theatre).

As research and development collaborator: The Lady and the Unicorn (The Yard), Love Descends (Oval House), Sister (Tete a Tete Festival)

As associate designer: Porcelain (Design by Cécile Trémoliéres, The Abbey, Dublin), The Host (Design by Cécile Trémoliéres, National Youth Theatre), This Beautiful Future (Design by Cécile Trémoliéres, The Yard)

Naomi trained at Wimbledon College of Art, and has since tutored final year students on collaboration in the industry.

She has also been previously shortlisted for the Linbury Prize and Old Vic 12.