Lisa Clark has worked in feature film, TV, streaming, documentary film, and museum exhibition for the past 18 years. Her projects have ranged from independent to large-scale productions where she regularly serves in the role of Set Decorator. She began her career in theater designing sets in San Francisco for over 25 productions including several West Coast premieres. She feels it is her theater experience that gave her a solid foundation for the design process used in film and TV.
Some of her recent Set Decorator credits include collaborations with Production Designer Jess Kender on the Emmy nominated Amazon series Daisy Jones and the Six, the ADG nominated Hulu series Little Fires Everywhere, and the ADG nominated Hulu series Future Man. Other notable projects include the feature The Last Days in the Desert with Production Designer Jeannine Oppewall and the feature Dog with Production Designer Laurence Bennett.
Lisa received a B.A. in History and Set Design from Stanford, and an M.A. in History from UC Berkeley. Her expertise in historical research has played a key role in her development as a designer, providing her with strong research skills and a keen attention to detail. She sees research as a key component of her work, believing an investigative curiosity leads to emotional believability in her sets. No matter the medium, Lisa brings a wide variety of skills to every project and is committed to a rewarding creative collaboration.
As much as the show is an intimate and dramatic look at motherhood, gender roles, racism, and privilege, it also doubles as a time capsule of the 1990s. The eight episode mini-series expertly transports millennial viewers, like myself, to our childhood…
"Lisa Clark's terrific scenic design -- a ramshackle house, ragged trees -- is so evocative you can almost feel the breeze blowing in off the Mississippi."
"… yupster Zoe (Robin Tunney) first lives in an actual loft, then moves abruptly to a prison space that has an eerie similarity to her previously tricked-out unit. In both locations the furniture has that plasticized scent of IKEA; it looks so drab it might as well have been state issued…"
"The first glimpse of the three-tiered set (excellent design by Lisa Clark)… rising from urban debris in the pit through a curtain of cyclone fences to a video screen-backed, raised platform, literally makes the scene."
Julius Caesar, Theater Review
09.03.1999
"… Lisa Clark's costumes were inventive, colorful, and perfectly aligned to character, situation, and… ease of movement."
The Snow Queen, Off-Off Broadway Review
02.26.1999
"… exuberant touches are provided by Lisa Clark's costumes (Macheath's Dick Tracy pinstripes, Lucy Brown's outlandishly large pink hat-bow…"
