Anyone can point a fixture at a stage. Lighting design is about intention — what the audience feels, where the eye goes, how a moment lands. Christopher Robinson brings a theater designer's instinct to brands, fashion, and live events: every look starts with the story you're trying to tell, then works backward to the rig that tells it. The result isn't just a well-lit room. It's a designed experience.

Christopher served as lighting designer for the live performances of Tony and Grammy Award winner Leslie Odom Jr. (2018–2020) — designing the looks for his album-release shows at Bowery Ballroom in New York and the Paramount in Los Angeles, and concert performances at the Kennedy Center and Walt Disney Concert Hall. An artist who brought Christopher back show after show, across rooms ranging from an intimate ballroom to a world-class concert hall — a range that demands a look serving the music, adapting to wildly different spaces, and never pulling focus from the performer.

For the Armadillo gallery, the brief came with a hard constraint: no booms, no truss, no rigging structures anywhere in the space — the client wanted the lights to appear to float. Christopher built the entire lighting design around Astera fixtures, chosen specifically because, at roughly seven pounds each, they were light enough to rig without traditional support. He engineered a custom mounting method using ratchet straps and Unistrut to suspend the fixtures invisibly. Because the Asteras run wirelessly, there was no lighting console to place and no DMX cable to run — levels for the entire gallery could be set from an iPad. The result: a fully lit gallery with no visible infrastructure, achieving exactly the floating effect the client envisioned.

Bryan Dos Reis is a frequent collaborator and an incredible storyteller — the most vivid directorial vision I've ever worked with. Together we've lit music videos for artists like Rob Markman and Franklin Rossman.