Creative Statement
Architecture, history, collaboration, and story-led theatrical environments that move from text to room, revision, and reveal.
I am drawn to scenic design because a room can hold history, conflict, memory, and possibility before anyone speaks.
The strongest design is not a backdrop added to a story. It is a spatial argument built in conversation—with the text, the director, the creative team, the shop, the venue, and the performers who finally inhabit it.
Download the creative statement01 · Architecture + History + Story
The room is never only a room.
My passion for scenic design falls somewhere between a love of architecture, history, and narrative storytelling. I'm drawn to projects that have meaning and impact for the communities they serve. I'm especially interested in productions where the design does more than illustrate a setting and becomes part of how the story resonates.
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02 · Creative Room + Shop Floor
The work begins before the model and continues through the shop.
I value every collaborator involved in bringing a production to life. That starts with the hidden collaborator, the playwright, and extends to the director, the creative team, and the production teams. I enjoy working closely with company managers, carpenters, and artisans to realize the best version of the creative team's vision within each unique venue.
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03 · Text → Model → Revision
A first idea is a doorway, not a destination.
My process often begins with ideas pulling in different directions. Early conversations with the director focus on the text: What do they see, and how can we shape a shared vision? From that point forward, I build digital models to explore and sculpt the world. I'm never afraid to start over, no matter where we are in the process.
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04 · Rendering → Drafting → Construction
The image has to become a place performers can trust.
I love the energy of collaborative design conversations, when ideas start bouncing between departments and the production finds its rhythm. Technically, I thrive in the transition from rendering to drafting, translating concepts into fully buildable spaces. I'm drawn to designs where structure and detail work together, and where every choice supports both the narrative and the performers onstage.
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05 · Revision + Breakthrough → Reveal
When the world arrives, it should feel inevitable.
Whether I'm working on a classic or a new play, my goal is to create environments that feel inevitable once they're revealed. Ideally, the design feels like it couldn't have been any other way, even if it took many revisions and collaborative breakthroughs to get there.
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“The design should feel like it could not have been any other way.”
The statement in practice
Production images, spatial decisions, and the completed worlds made with collaborators.
