About Me
My background
After high school, I first pursued studies in science before discovering a more visual path through hair and makeup design. That career eventually brought me to Los Angeles, where I owned and operated a salon for fifteen years while also working in the film industry on commercials, narrative films, photo shoots, and music videos. Through that work, I gained a deep appreciation for collaboration and for the way visual choices shape character, tone, and story. Over time, I began to recognize the strong connection between hair, makeup, and production design: each depends on texture, color, detail, and intention to build a believable world. That realization led me to sell my salon and move into the art department, where I worked as an art director on two Scotland-funded short films. While my background is not rooted in formal production design training, it is grounded in years of hands-on creative experience. For me, building worlds through character, space, and atmosphere has become a natural and meaningful extension of the work I have always loved.
My experience
My experiences in production design have allowed me to build a range of worlds across very different locations and production environments, each requiring its own creative approach. Through projects like Shoulder Deep, Once Upon the Siegfried Line, and We Sit. We Drink. No Guns., I have worked across distinct visual landscapes: a stylized rural veterinary practice, researched wartime environments, and a post-apocalyptic wasteland. Shoulder Deep was built in a controlled space, which offered the opportunity to shape the world from the ground up, while also presenting the challenges of making every design choice feel natural, specific, and lived-in. Other projects pushed me into the demands of location-based filmmaking, where the design had to respond to existing spaces, practical limitations, and the pressure of production. Each experience challenged me to think beyond decoration and focus on how environment supports character, tone, and emotion. Although my lead credits are still growing, these projects have strengthened my creative instincts, my ability to adapt, and my belief that production design is one of the most powerful ways to make a story feel alive.
My vision
To me, production design is storytelling through space. It is the way environment, color, texture, and objects speak before a character ever does. I am drawn to design that goes beyond realism and creates a world the audience can feel. Films like The Royal Tenenbaums inspire me for the way symmetry and color build a heightened, deeply personal universe, while Crazy Rich Asians shows how scale, detail, and atmosphere can express identity, culture, and status with elegance and force. At its best, production design does more than decorate a story. It reveals it. Every room, object, and visual choice should deepen character, sharpen theme, and make the world feel emotionally alive.