My relationship with Slipknot spans multiple album cycles. I served as creative director on digital campaigns, including the Touche Booth ARG, tied to the “All Out Life” single on Roadrunner Records. Through my years of working with the band and management, several chapters of work were built around the same premise: Slipknot’s fanbase is one of the most engaged in music, and the creative had to be worthy of that.

Slipknot needed to launch their new single in a way that matched the intensity of their fanbase, not a press rollout, a real event. I built the campaign around a fictional Halloween costume company called Touché Booth. I developed the full brand identity and a functional photo booth web app where fans could try on masks and props that subtly referenced individual band members. We built out fake social accounts across Twitter, Reddit, and Instagram, ran paid media behind the Touche brand to give it real-world legitimacy, and seeded cryptic content over several days leading up to Halloween. Clown himself operated the accounts in character, including inside the Official Slipknot Discord, where he was accidentally banned by a mod who mistook him for a spam bot.

I designed assets and physical products for the gum wall installation, which transformed pre-existing Olivia Rodrigo billboards into interactive fan installations simultaneously in Los Angeles on Melrose Avenue, Brooklyn, and Paris over the single’s release weekend in April 2026, featuring the lyric “cause i got chewing gum and a bunch of stuff i’d like to know.” Thousands of fans lined up across all three cities as the walls ran April 17–19, chewing OR-branded Hubba Bubba Bubble Tape dispensed from custom gumball machines on site and sticking it directly to the wall, slowly building a chaotic pink and purple texture around the lyric throughout each day.

During my time as an in-house Digital Producer at the Los Angeles Philharmonic, I led the creative and technical delivery of digital initiatives across websites, mobile apps, and audience-facing touchpoints. I worked closely with creative teams to shape the visual direction of microsites and digital campaigns, translating big ideas into polished, functional experiences. Some of my most rewarding work from that period was building interactive web experiences that brought the LA Phil’s programming and legacy to life in unexpected ways.

For Noon to Midnight, the LA Phil’s all-day festival of field recordings presented with PST ART/Getty, I co-created the Digital Meadow, an interactive experience built entirely on Google Sheets. The concept was intentional. Using an everyday, accessible platform to mirror the approachable, exploratory spirit of the festival itself. The result was something unexpected and alive, inviting audiences to discover the sounds of both natural and human-produced environments in a format nobody saw coming.

Read an interview featured in Acid Free Magazine, the official publication of the Los Angeles Archivists Collective

For KUMO 99’s album launch for PULL!, I built an official website centered around a fully interactive 3D room experience, designed in Blender and brought to life through a custom JavaScript plugin built on Three.js. The room loads directly in the browser, letting visitors navigate the space in first person, interact with clickable objects, and trigger content tied to the album world, including their upcoming tour with Machine Girl. The visual aesthetic was intentional, low poly geometry and flat shading that evokes the look of an N64 era video game. It even comes equipped with a wireframe scan effect on load and a panic button.

Working through my agency in partnership with Universal Music, I supported and helped develop creative direction and animation production for a 10-part animated series celebrating 60 years of Motown. Collaborating with studios including Sunshine Mall, we paired archival audio with bold, era-inspired animation, giving each episode a distinct visual style rooted in the decade it represented. I oversaw the project from concept through delivery, honoring Berry Gordy Jr.’s legacy and Motown’s cultural impact with clarity and originality.

I worked closely with Usher and his team across multiple productions, from brand partnership shoots to rehearsal documentation, getting close to the creative side of everything he does. Two of those projects stand out as defining moments in that collaboration.

For his Las Vegas residency announcement, I acted as executive producer and director for a crew producing a bold visual teaser that blended playful luxury with viral mischief. The video introduced the now-infamous Ush Bucks, a fictional currency that ignited widespread buzz across social media and press.

To celebrate the opening of citizenM’s downtown Los Angeles hotel, Ride or Cry, the creative agency where I served as part-owner and creative director, set out to highlight some of LA’s unsung heroes. In collaboration with KesselsKramer and local photographer Corinne Schiavone, we photographed 52 creative, enterprising, and inspiring Angelenos using Polaroids, a format rooted in the city’s casting culture. The portraits became the centerpiece of a multichannel campaign, physically displayed across every hotel window and extended through video, digital, and social platforms.