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Artist At work 40 p o r t l a n d monthly magazine CloCkwisefromtopAAronflACkeDiAneHuDson2 Finding Home A t the time Stewart was a free-lance theater designer doing shows in Seattle Dallas Chicago Minne- apolis Atlanta all over and each gig re- quired a stay of several weeks. You really get a sense of what its like to liveinthecitywhereyoureworking.Increas- ingly Portland became one of the few plac- es that coming out of a New York base she could see herself moving to. It was inspiring to my work. The other draw was the theater space itself. Its just this jewel box. Theres not a bad seat in the house. Its one of the best the- ater spaces in the country and Ive worked at a lot of them. While an undergraduate at Yale Stew- art studied architecture. But the thought of building something that would be standing 50 or 100 years from now made her stom- ach tie up in knots triple and quadruple knots. When she looked at things shed done in the past very few of those ideas seemed to her to be the best they could be. It was always Well if I had done it this way it would be even better. For her the- ater solves this problem. It gives you some- thing here in the moment right now. Its the best thing ever and then it becomes a memory. Another problem with architecture. When doing a mock-up for a design shed invent people who lived in it and a back sto- rythatmadeherdesignsomethingotherthan just abstract space. This was really set design but it just took me a while to figure it out. When she did she plunged wholeheartedly into the Yale School of Drama where she found her mentors master teachers Ming Cho Lee sets and Jennifer Tipton lighting. Anita Stewart in a playful moment at her home studio below left on stage during Our Man in Havana above and with a colleague creating props for the forthcom- ing Lost Boy Found in Whole Foods.