I’ve always been fascinated by potential. Understanding what is already there, what it could become, and what might be possible with the right combination of imagination, intention and ingenuity.
I grew up knowing I wanted to create beauty, and was equally fascinated by how things work. So I studied engineering before moving to New York to dive into the creative world. I started my career as an art director in editorial photography. I quickly became known for making the most of what was available. That approach took on a whole new dimension when I entered the world of high-volume photography. As the creative director of one of the biggest studios in the US, I refused to accept what the industry seemed to take for granted: that the quality of creative work had to be limited by the demands of productivity and volume.
I set out to prove that it was possible to produce photography with the ambition, nuance and visual quality of editorial work within the very real constraints of high-volume commercial production: budget, teams, timelines and scale. Looking at the whole system, I quickly found that when I focused on strategic alignment and communication, as well as transforming the creative environment, the results could be spectacular. Over the years, I successfully applied and refined this approach with brands and retailers including Target, Macy’s, Theory, Victoria’s Secret, Helmut Lang, David Yurman and The Home Depot. I eventually gave that it a name: Creative Engineering™.
Today, I bring that way of thinking to brand expression, consulting and education, working with brands and creative organizations to turn creative potential into something real. I’m also exploring what happens when the system itself changes, particularly as AI and new technologies reshape how creative work is imagined, made and produced.
My obsession remains the same: unlocking creative potential
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