Architecture, history, and narrative storytelling.

I value every collaborator involved in bringing a production to life. That begins with the playwright and extends through the director, design team, technicians, managers, carpenters, and artisans. The work is strongest when the whole production can move toward a shared spatial idea together.

I especially care about the conversations that happen between departments, where scenic design has to remain flexible enough to support lighting, costumes, projections, movement, and performance. Collaboration isn't a secondary value in the work. It's part of the design itself.

My process usually starts with too many possibilities at once. Early conversations with a director are about the text first: what they see, what the play requires, and how a shared visual logic can emerge.

From there I build digital models to explore and sculpt the world. I'm never afraid to start over. I care about the transition from rendering to drafting, where an idea has to become clear enough to build, rehearse in, and perform inside.

Whether I'm working on a classic or a new play, I want the environment to feel inevitable once it's revealed. The best designs carry the weight of revision quietly. They feel resolved, even when they were hard-won through many iterations and collaborative breakthroughs.

I'm looking for clarity rather than spectacle for its own sake. The strongest design choices are the ones that support performers, deepen the dramaturgy, and make the audience feel that the world of the play could not have been built in any other way.