Naomi is a designer for performance with a strong base in collaborative working, playfulness, and visual dramaturgy. One of her prime interests in designing is exploring how the visual can be accessible to universal audiences. She believes that through an emotional engagement with recognised images and memory we can create powerful and affecting work, and this must appeal to people from all walks of life, backgrounds, and identities. She believes in theatre being a democratic space for all. This also means that she does not have a particular style, but rather a set of process tools to bring when listening to the needs of a piece of work.

Design credits include: Dreamplay (The Vaults), In My Dreams I Dream I’m Dreaming (Theatre Royal Plymouth), I, Myself and Me (Rachael Young/UK Tour), FEAST (Clout Theatre/Battersea Arts Centre), Rise: Macro vs. Micro (Old Vic New Voices/Old Vic Workrooms), Then (Yve Blake/Soho Theatre and Australian Tour), Majesty (Battersea Arts Centre), Eastern Europeans for Dummies (There There/Rich Mix), The Various Lives of Infinite Nullity (Clout Theatre/Battersea Arts Centre), Instructionally Invited (Gruff Theatre/The Vaults), The Shape of the Impossible (National Theatre Young Studio/National Theatre).
As research and development collaborator: Love Descends (Oval House), Sister (Born Mad/Tete a Tete Festival), We’re All Gonna Grow Our Own Hair (Statens Scenekunstskole, Denmark)
As associate designer: Voodoo (Project O/Chelsea Theatre and Cambridge Junction)

Naomi is also an ongoing collaborator of visual arts duo Cut Tongues, with whom credits include Symphony no. 4 (film and performance installation) and A Screaming Comes Across The Sky (film). 

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


"Naomi Kuyck-Cohen and Joshua Gadsby’s set is phenomenal, almost art rather than a set, and they use The Vaults to it’s full potential. The diversity of the set and the way it was tailored to each scene was the very foundation of the show, and one of my favourite elements." WestEnd Wilma for dreamplay, The Vaults Theatre, 2016

"...This is the start of a larger project and the beginning for a talented new designer. Naomi Kuyck-Cohen..has beautifully added to Ark-ive, snipping filigree herds and individual creatures from card indexes and populating a map of the British Isles with tiny scissored-out beasts. I'm looking forward to the time when the theatre is populated by her designs." Susannah Clap for The Observer review for Ark-Ive by Wildworks and The National Theatre, 2012

"We are fed a fabulous feast of visual imagery, which we gobble up with greedy delight" Total Theatre for FEAST by Clout Theatre, 2015

"It opens with a scene Bosch would have applauded" The Herald for FEAST by Clout Theatre, 2015

"This three-course piece, despite its filth, is worth savouring"  The List for FEAST by Clout Theatre, 2015

"Alex Groves' musical direction and Naomi Kuyck Cohen’s design complement Blake’s performance perfectly, to make the show as stunning visually as it is aurally...it’s clear that Then is a result of the collaboration of a strong artistic team." A Younger Theatre review for THEN by Yve Blake & Co, 2014

"An absolutely gorgeous set. It's dusty, it's filthy, it's putrid.." "It is experiencing The Vaults to its real potential" The Bad Birches review for Instructionally Invited by Gruff Theatre Company, 2015

"Naomi Kuyck-Cohen's designs are touchingly wacky." The New Current review for Lie Collector by Yve Blake, 2015


The Stage, 2015 (interview)

Seven Days, Seven Plays 
Written by Naomi Kuyck-Cohen and Joshua Gadsby. Blue Pages, Journal for the Society of British Theatre Designers. no.2, 2016

Anonymous writers and a suitcase of budget dreams: Designing with Yve Blake and the Internet 
Written by Naomi Kuyck-Cohen. Blue Pages, Journal for the Society of British Theatre Designers. no.1, 2015