Lithuanian creative studio STUN Studio (formerly AB Light) recently curated the visual design for native singer and songwriter Jessica Shy’s latest ambitious live production at Vingis Park. Working with the artist, director and wider creative team, STUN Studio developed a cohesive visual language spanning stage design, lighting and video, with a central bridge element becoming one of the production’s defining features. With the stage stretching to around 120m in width, the project also pushed the studio into new territory, demanding a careful balance between spectacle, detail and functionality. Speaking exclusively to TPi’s Jacob Waite, STUN Studio Creative Director, Arvydas Buinauskas, reflects on the creative process, the challenges of working at such a vast scale, and how the production is helping to shape the collective’s modern approach to large-format live design.
Tell me about your role on this project, and briefly, what did it entail?
Our studio was responsible for the scenography and lighting design. We developed the overall visual concept in close collaboration with the performer, Jessica Shy, the director, and the entire creative team. Their input was essential in shaping the final concept and helped us create a visual language for the stage that complemented the performance and reflected the shared artistic vision of the whole team.
What is your history with the artist and her team?
Our collaboration with Jessica and her team goes back to 2023, when we first worked together on her live shows. Since then, we’ve been involved in several of her major productions, including Vilnius Kalnų Parkas and the stadium show in Kaunas. Over time, we’ve developed a strong creative understanding and a shared visual language, which makes the process feel very natural. There is a lot of trust between us now, which gives us the freedom to experiment and push the visual language further with every new production.
Tell me about the creative brief and inspiration for this production?
The beginning of the creative process is never easy. We explored many different ideas – some stronger, some weaker – and gradually, working together as a team, began to narrow them down and move towards a shared direction. From the references, visual motifs, and ideas we collected, several key elements started to emerge, ultimately shaping the entire visual identity of the show. One of the most important of these was the bridge.
From that point, the concept became much clearer. We wanted the scenography, lighting, and video content to come together as one cohesive visual world rather than feel like separate layers. Our aim was to create an immersive experience that felt emotionally connected to the performance, allowing the audience to travel through the show together with the artist rather than simply observe it from the outside.
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What challenges did you and the team face in making this production a reality?
One of the biggest challenges was installing such large-scale scenic elements on the existing stage for the first time, especially while working around constantly changing weather conditions. Another major factor was the sheer scale of the production; the overall stage width reached around 120m. At that size, the challenge was not only technical but also visual: every element had to feel connected and work as part of one composition. It required very close collaboration between the scenic, lighting, video, and technical teams to make sure everything worked together both practically and creatively.
Do you have any favourite looks or moments?
One of my favourite moments is when the bridge becomes a strong visual focal point and the lighting, scenography, and video content come together as one complete image. Those moments really reveal the scale of the production while still maintaining a strong connection to Jessica and the emotional character of the performance. I also really enjoyed how the stage transformed throughout the day. In daylight, it had a completely different character, beautiful and expressive in its own way but as evening approached, the changing natural light and the growing impact of the lighting design gradually transformed the entire stage.
What makes this production stand out for me is the balance between scale and detail. The stage was very large, but we wanted every element to feel considered and meaningful rather than simply impressive. The bridge, lighting, and visual content worked together to create one cohesive world, and that sense of unity is what I value most about the production.
How has this project helped shape or improve you as a designer?
This project really taught us how to work with scale. It was the first time we had designed scenography for a stage of this size. Previously, we had worked with stages around 30m or 40m wide, which already felt substantial, but this production was on a completely different level.
The biggest lesson was learning how to control that scale visually: how to create a sense of space that felt cohesive, balanced, and connected to the artist rather than simply overwhelmingly large. Another important aspect was that the scenography not only had to create a strong visual identity but also transform and conceal elements of the existing stage structure. This meant the design had to be both creative and highly functional. For us, it was a completely different experience, and it definitely changed the way we think about proportion, distance, and how individual visual elements communicate with one another across such a large space.
How does it feel to have played a role in this landmark project?
It’s still a little difficult to fully process. After the concert, we talked about it with the team and realised what we had actually achieved, but I think it will still take some time for it to really sink in. One of the things I’m most proud of is that productions of this scale are happening here in Lithuania and contributing to the growth of the wider live entertainment industry. Projects like this challenge everyone involved – the designers, production teams, technical suppliers, and venues to develop, learn, and raise their standards. When that happens, the whole industry moves forward together. For me, that is perhaps the most exciting part: not only being involved in a landmark production, but also seeing how projects like this can help the entire creative and technical community grow.
What’s next for you?
There are quite a few exciting projects ahead, and they are very different in scale and style from opera and live concerts to ice shows. That variety is something we really enjoy because every project brings a completely different creative challenge. The best way to follow our work is through our Instagram and website, where we try to share new projects, behind the scenes moments, and updates as often as possible.
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