Birgitte Moos Chalcraft, a Danish artist, works at an interdisciplinary manner in which creative and methodological elements are combined in a close interweaving of theory and practice. 

Birgitte experiments with artistic concepts, that go beyond the performing arts and explores the diversity of fields that make up the world of fine art. In particular, a fusion between set design, installation art, and painting, where her work function as audience interactive installation art for other venues than the purely theatrical. Utilizing the vibrant spaces and surroundings of the City and Landscape, Birgitte displays artworks that often reflect on the totality of an environment, from the perspectives of cultural history, humans´ presence, and interactions. Topics include socio-political aspects, ranging from homelessness, environment, gender discrimination to psychology, spirituality, and metaphysics. 

As a Visual Artist and Set Designer, she has been involved in numerous projects, theatrical performances, and exhibitions, in Denmark and internationally. She also lectures on interdisciplinary set design for experimental theatre and performance art, creativity, and communication across disciplines, at various cultural- and educational institutions.

Birgitte is an award-winning Set Designer, nominated Artist, and recognized Scholar. In addition to a MA in Spatial- and Set Design (graduated at The Royal Danish Academy of Fine Arts, Copenhagen in 1998), she also studied painting and stage design (at the Berlin University of the Arts´s Institute for Performing Arts/Hochschule der Künste in 1997) in Achim Freyer's masterclass. Prior to this, she studied Fine Arts (Berlin Weissensee Art Academy from 1995 to 1996), focusing on an interdisciplinary foundation ranging from fine art to artistic concepts for the performing arts. Recently she obtained an additional master's degree, in Applied Positive Psychology (graduated at Aarhus University in 2020).

With this, she unites visual art with psychology into a new and unique cross-disciplinary hybrid, she describes Visual Psychology.

FLOW 2018 (20 pcs 90x350cm, various sizes, acrylic on canvas)






Ode to Ian Curtis painting, 2009, for my Edgar Varela Gallery solo show in The Arts District, Downtown Los Angeles, March 2009.

While researching on the band Joy Division for this painting, I stumbled across that Ian Curtis was recruited as a band member after responding to a post about 'singer wanted’, inside a music store. I imagined it happened on a rainy day in Manchester. Hence the blurry face as if seen through a rain covered window. Not to mention the atmosphere of his following depression, epilepsy, and so forth...



CARMEN (Prelude, Act 1)

While living in Berlin, Birgitte did a stage adaption of George Bizet´s opera Carmen. In her take, in which she planned artistic direction, set and costume design, Carmen were twisted into a time relevant techno opera.

In this particular artwork, which is part of her entire Carmen project, she transformed Carmen´s main score into abstract expressive visual compositions on A3 sized paper works.

This piece illustrate some of the emotional and rhythmic sensations Birgitte experienced, while listening to Carmen´s original main score. It´s vocal and instrumental parts are arranged as visual note lines, horizontally and one below another, in a time- progressive manner. Each instrument and vocal character have individual patterns and colours. The visual notes were adapted onto textile print, becoming fabrics applied for the opera´s costume design.


Others have said 

"As an internationally recognized innovator in the field of interdisciplinary performance design, Ms. Moos possess in-depth knowledge and a unique perspective that rises above and beyond the scope of many of her contemporary researchers and educators here in the United States. She is a polymath with strong competencies in project management, knowledge production, and process consulting, being both a theorist and a working artist ... She is without a doubt absolutely outstanding in her field because she defines trends internationally. Therefore, she contributes profoundly as a teacher/researcher to the expansion of traditional academic and practical methodologies of performance design pedagogy".

- Alan Tollefson, Adjunct Professor & Technical Director of Theatre Arts, & Bureau of Social Research Unit Chair, at University of La Verne, CA.

"Ms. Moos is a specialist image maker, an artist, thinker, and craftsperson who possesses an extraordinary esthetic sensibility. She is already a visionary in the field, pioneering exciting new areas at the cutting edge of technology and the arts, and creating striking and deeply interesting artworks in the process. She is a creative and gifted talent who not only excels but stands out ... Individuals with her combination of skills, knowledge, and talent are extremely rare and much sought after by industry. She will undoubtedly bring prestige to any project in which she is involved".

- Vibeke Soerensen, Professor & Founding Chair at Division of Animation & Digital Arts at the University of Southern California, L.A.

"Ms. Moos, herself, is an intuitive artist with analytical abilities and theoretical knowledge, as well as creative instinct. Her practice allows her the appropriate vocabulary and peers respect to obtain detailed information, that can be challenging for one from a purely theatre history training. She understands her roles, either as a designer or critical theorist, as well as the traverse between them. As part of her residency, she held a lecture and demonstrated highly accomplished international expertise and visionary–insight–into–this_subject. Moos' proactive investigation of experimental and avant-garde design in relation to the performance of the performers and audience, is vital to the genre".

- Sherry Dobbin, Director at Robert Wilson's Watermill Center in NY, Director at Times Square Arts in NYC, and Partner (Managing & Cultural Director) at Future City, London