Creative Director and Design Technologist.
Currently exploring AI as both tool and material for expressive design.
Recently completed my Masters at NYU Tisch in Interactive Media and Technology.
Previously Creative Director of Experience Design at Meta, and before that, Executive Creative Director at Invisible North.
In a past life, I was a set designer working alongside Oscar-winning collaborators.
I've worked with A24, Hermès, Google, Meta, Oculus, Microsoft, Oprah, and more.
I'm drawn to creative projects that require invention. New formats, unfamiliar technologies, and problems without obvious solutions, with design craft and engineering as the through-line.
I live on a farm in upstate NY, learning regenerative practice, with a workshop full of tools and ideas.
I've been lucky to work with A24, Hermès, Google, Meta, Oculus, Microsoft, Audi, and Oprah.
I'm drawn to projects that require invention—new formats, unfamiliar technologies, problems without obvious solutions—with design craft and engineering as the through-line. I recently completed a masters in interactive media and technology at NYU Tisch ITP/IMA to deepen my work across human-interface design and interactive technology.
In 2020, I joined Meta as a Creative Director on the Brand Experience Design Team, leading multi-disciplinary teams across apps and hardware. I co-led the first Meta Store from concept to delivery and worked closely with product and engineering to craft new but familiar modes of engagement with spatial computing—Quest VR and Ray-Ban Meta demo experiences that scaled globally through third-party retail.
Before Meta, I was Executive Creative Director at Invisible North, a NY-based experiential studio, where I helped build and helm the internal design team—translating brand into physical experience for clients across tech, fashion, and entertainment.
My path to experience design started unexpectedly: a degree in plant science, a tomato farm, then landscape architecture in NYC. On a Brooklyn street one day, I was awe-struck by the dimensionality of a Scorsese production and plotted a new course toward set design—work I still take on when possible.
I live on a farm in upstate New York that I'm slowly making regenerative, with a workshop full of tools and ideas. I've come to think of research as leisure activity—inquiry driven by passion rather than credentials, where reading and learning naturally become opportunities to experiment with making. Right now, that means exploring AI as both tool and material for creative expression.