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Irvin Khaytman, 19, as Snape

Accounting student at NYU; lives in Dyker Heights

You’re quite a fan of Snape, I see.
Absolutely not—I don’t like Snape.
Then why do you dress up like him?
He’s a very fun character to be, because you can be snarky and sarcastic and insult people. For example, I would call Gryffindors stupid. Because they are.
Who’s your favorite, then?
Luna Lovegood. She’s kind of the outcast, the oddball of the group. That’s how I’ve felt about the Muggle world.

Photo: Barbara Šaric

Margaret Walchak, 47, as Molly Weasley

Nurse; lives in Bay Ridge

Tell me about Molly.
I’m an older reader, and I identify better with the adults than the children. She gives the impression of being the motherly, kind one, but there’s a lot of strength and courage behind that.
Do you do any other characters?
I’ve done a student, and a Death Eater. And I’ve done an eighties-style Dolores Umbridge. Some of us went to the Mermaid Parade, and for that I did Molly Weasley taking her kids to the beach.

Photo: Barbara Šaric

Ana Gondring, 29, as a Ravenclaw witch

Job coach; lives in Passaic, New Jersey

Where do you get your hats?
From Witch to Wear, in Texas. They range between $90 and $130. They’re worth it!
Are you bummed that it’s all ending?
For me, it’s not. I’m only bound by the end of my creativity. One character I’ve been working on is Rosemerta, the barkeep—you have to have creativity and logic to make a good cocktail.
Are you good behind the bar?
I like making drinks. My favorite is a Brandy Alexander.

Photo: Barbara Šaric

Jonathon Rosenthal, 31, as a Ravenclaw wizard

IT consultant; lives on the Upper East Side

Why a Ravenclaw Wizard?
I usually go as the movies’ Cornelius Fudge, but when it’s warm out I don’t want to.
Ah, so this is your summer character.
I wear even less sometimes. The robe is optional.
I hear you’re dating Ana the Ravenclaw Witch.
Our interests aligned—we’re science-oriented.
So if she were, say, a Slytherin …?
Well, I have a little Slytherin in myself. But if she was a Gryffindor I might not have been interested. They’re too headstrong.

Photo: Barbara Šaric

Caitlin Neal-Karhut, 21, as young Snape

Writer; lives in Flushing

Why Snape?
I’ve been a heavy Snape fan since 1999. I feel a connection with him. I understand his feelings and emotions, and the anger he had as a child. Because I was picked on.
Ever switch to other characters?
I have done Harry and Lestrange. I used to do more older Snape and just recently I started doing Young Snape.
Well, you’re pretty young, so that makes sense.
Yeah. Older Snape required a lot of makeup. For the movie I’m going as him, though. Because he dies, so in memory.

Photo: Barbara Šaric

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Barbara Saric

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Barbara Saric

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Barbara Saric

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Barbara Saric

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Barbara Saric

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Barbara Saric

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Barbara Saric

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Barbara Saric

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Barbara Saric

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Barbara Saric

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Barbara Saric

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Barbara Saric

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Barbara Saric

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Barbara Saric

Slide Header

Address, date, or similar info here.

For me, the high point of the show is this, which manages simultaneously to be a painting, a force field, and an electromagnetic visual discharge. This is an artist sloughing off old consciousness, making something he doesn’t even know is art, giving up nearly all known languages of painting, and maybe violating the laws of nature by making something that seemingly puts off more energy than went into making it.

Photo: Barbara Saric
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