About Me

I am a visual designer and storyteller working across theater, film, and graphic design—specializing in set design, motion graphics, information visualization, and immersive formats.

Before I draw anything, I study the material: the play, the script, the historical period, or the data. I seek the underlying story and build the visuals from that foundation.

I enjoy working with my hands. For Bacchae, I built the stage model myself. For Oil Prices, I spilled ink on wet paper and scanned the resulting stains. I also drive projects through to production: Precedent, an immersive performance I devised, is currently being realized under my production.

I am seeking studios, productions, and creative teams where dramaturgy and meticulous attention to detail are paramount.

In Precedent, I conceived the idea and led the production. I am responsible for the production aspects—technical, creative, and organizational work. The project is being realized in collaboration with a large team.

In Bacchae, I relocated the action to a Soviet communal apartment. People share territory against their will; each has a life of their own, and the kitchen is communal. Pentheus became the head of the house committee, Dionysus the new tenant, and the maenads the neighbors who stopped sleeping at night.

The kitchen rotates, displaying everyday life: six gas stoves, a fridge covered in notes, and pots hung on nails. A glass cylinder in the center lets light and shadow filter through, but not detail, so the Bacchic scenes appear as silhouettes.

I built the model by hand. I created it myself to test how light and shadow behave inside the cylinder and how the space is perceived from the audience’s vantage point.

In the credits of the film Hereditary, I depicted a house assembling from separate rooms—slowly and almost mechanically, like a repeated ritual. It utilized a dark palette, directional light akin to a flashlight, and dense noise used both as sound and as a visual device. The finished house cuts into the film’s first frame, completing the loop.

Hereditary demonstrates that I study a film’s logic and translate it into motion.

For an infographic tracking rising oil prices, I researched the events of the period, tying every rise and fall to its underlying cause. For the background, I spilled ink onto wet paper to create the texture of an oil spill, then scanned the stains and integrated them into the chart.