“I design brand experiences using four creative disciplines— visual identity, sound, illusion, and event architecture—built to create emotion, attention, and memorability.”
About
Whether I’m working with sound, objects, images, food, systems, or experiences, my approach remains constant. I observe closely. I dissect to understand what lies beneath the surface. I compare what exists in order to find true distinction. Then I refine — patiently — until complexity resolves into clarity, simplicity, and elegance.
When a problem is placed in my hands, it rarely remains purely functional. Over time, it becomes shaped, interpreted, and resolved through an artistic lens. This isn’t a stylistic choice — it’s how my mind works. Constraints become material. Challenges become structure. Function becomes expression. My instinct is always to translate ideas into something tangible, coherent, and intentional.
At the heart of my practice is the pursuit of memorability. I care deeply about creating things that stay with people — whether that takes the form of an event, a logo, a song, a performance, or a meal shared around a table. I’m less interested in novelty than in resonance: work that feels considered, balanced, and quietly difficult to forget.
This way of working was shaped early. I began working at the age of ten, holding multiple jobs that taught me discipline, responsibility, and the value of relentlessly pursuing a goal. I released my first album at fourteen, entered the world of advertising at twenty-one, and have spent the years since steadily honing my craft across mediums and industries. Each phase added structure and perspective — not as reinvention, but as accumulation.
Over the years, I’ve had the privilege of working with established and iconic brands whose identities are treated as nearly sacred. In those environments, trust matters as much as talent. I’m often invited into ambitious conversations — asked not simply to preserve what exists, but to imagine what could exist next. I seem to have a particular ability to inspire organizations to take considered leaps of faith, pursuing projects that are larger than life yet grounded in intent — work that not only succeeds, but quietly raises the standard around it.
My work has taken many forms: albums released into the world, written contributions to specialized publications, original methods and systems developed for professional communities, physical objects designed and produced, brands and identities built from the ground up, performances crafted to create meaning rather than spectacle, and experiences shaped to feel intuitive yet precise. More recently, this same way of thinking has extended into the administration and development of a physical space — Onni Cabin — where atmosphere, function, and experience are treated with the same care as any creative endeavor.
I don’t separate tradition from technology. I see tools — including artificial intelligence — as extensions of intent rather than replacements for it. Used thoughtfully, they serve the same purpose as any instrument: to explore, test, and refine ideas in service of a clearer outcome.
At the core of everything I do is a simple drive: to look closer, understand deeper, and shape what emerges with honesty and care. Whatever the medium, the work is always an attempt to make something feel inevitable once it exists — and memorable long after.