The Longer Story

I've spent over 25 years working at the intersection of image, language, and brand — but if I'm honest, I've never been someone who stays in one lane.

I started in fashion, shaping campaigns for Guess, Victoria's Secret, Revlon, SOMA in San Francisco, and two years in-house as Photo Art Director for La Maison Simons. The work was held to a hard standard: a national out-of-home campaign I directed for Le Château preceded an 18.4% increase in total annual sales, reaching $217M. At Guess, creative direction work ran alongside $583M in sustained product sales against a tightly managed ad budget. Numbers like that taught me something I still rely on — a brand has to hold together under real commercial pressure, not just look good in a deck.

From there, my practice opened up rather than narrowed. I direct fine art photography and mixed-media painting — exhibited at Art Basel Week Miami, shown at Cornell Art Museum alongside Andy Warhol and Russell Young, and representing Canada in a binational exhibition with Brazil. I'm currently building MODUS, an editorial platform that tries to formalize how we evaluate art and design — because I got tired of "good taste" being something nobody could explain or defend.

More recently, I've moved into film — developing investor decks, moodboards, and creative material for projects currently in development, alongside producers and financiers at a serious level. Nothing closed yet, but it's a space where the same instincts apply: you're building a narrative people have to trust enough to put real money behind.

What ties all of this together isn't really a skill — it's a way of seeing. I'm drawn to work where the standard is high enough that there's nowhere to hide: a retailer's annual report, a museum jury, a financier, an Index I built myself that has to score my own work fairly. I'd rather be tested than comfortable.

I don't think of myself as having four careers. I think of it as one creative practice that keeps finding harder rooms to walk into.