Hannah Wasileski is an artist and projection designer based in Berlin and Brooklyn.

Her design work includes Water by the Spoonful (CTG's Mark Taper Forum); interactive projections for the adaptation of Murakami's short story Sleep with Ripe Time (BAM); the music video Unwind for new music duo New Morse Code; Pipeline by Dominique Morisseau (Lucille Lortel Award; Lincoln Center Theater); a new adaptation of Poulenc's La Voix Humaine (National Sawdust); The Death of the Last Black Man in the Whole Entire World by Suzan-Lori Parks (Signature Theatre); U.S. premiere of Revolt. She Said. Revolt Again. by Alice Birch (Soho Rep); visual score for Sarah Rothenberg's music-theater piece A Proust Sonata (Wortham Center Houston & Alliance Française NYC); projections for the world premiere of Du Yun's opera Angel's Bone (Prototype Festival, Pulitzer Prize 2017 winner); and Ethel Smyth’s opera The Wreckers (Bard SummerScape); the visual score to art songs by composer collective Sleeping Giant for Albany Symphony's American Music Festival with Theo Bleckmann and Dogs of Desire (EMPAC); interactive hand-drawn projections for The World is Round, a folk opera adaptation of the Gertrude Stein children's book performed at BAM (Obie Award; Exhibition at the Prague Quadrennial 2015); projections for Livin' La Vida Imelda (Ma-Yi Theater Company); architectural projection design with shadow puppetry company Manual Cinema for the site specific opera La Celestina (Metropolitan Museum of Art); the visual score to La Prose du Transsibérien, an original quintet by composer Matthew Suttor commissioned by Yale Beinecke; projections for the new choral work ReAnimator Requiem by Matthew Welch (Abrons Art Center); the premiere of Sarah Ruhl’s Dear Elizabeth (Yale Rep & Berkeley Rep); Doctor Faustus Lights the Lights, A Streetcar Named Desire (Yale Drama), as well as several shows at the Yale Cabaret. Hannah is the recipient of a Lucille Lortel and an Obie Award.

She found her way into the visual and performing arts through her background as a classical violinist. Beginning as a video and installation artist after graduating from the University of Brighton, UK, she moved to New York City where she was immediately drawn to the performing arts and the interaction of live performance and projection design for the stage. She graduated with an MFA from the Yale School of Drama where she was in the inaugural class of Projection Design.

She also has a strong interest in creating her own work, in which she conceives, designs and directs her own pieces. Her background as a violinist has always been at the root of her art, driven by music and the desire to find in it visual expression. Her four-screen video installation Virtuosic, a virtual string quartet performance, was presented in Brighton, London, and at the National Review of Live Art Festival in Glasgow, and her staging of Schoenberg's Verklärte Nacht for sextet and projections was performed in New Haven. Selected upcoming work includes projections for Yuval Sharon's new production of The Magic Flute at the Staatsoper in Berlin, hand-painted ink brush visuals for Hanne Tierney’s new piece 18 Stanzas Sung to a Tatar Reed Whistle, and Screenplay, composed by Amy Kirsten and performed by Michael Compitello, a new piece for percussion trio, performed by one live percussionist who haunts himself performing in a virtual duet accompaniment.