’12–’14
Where it started. Studying communication design at Kutztown University, then learning on the job: graphic design at Vault Communications, a PR firm, and websites at Inovāt Digital Agency, where I picked up the habit that stuck. Sweat the details until they feel inevitable.
’14–’21
Where I grew up as a designer and learned how to lead. Seven years, three titles. I joined Saavn as a senior product designer and left as VP of Design of a music app used by millions.
Billboard ↗Business Insider ↗Music Ally ↗Firstpost ↗Pocketnow ↗Behind the brand ↗
’21–’23
The chapter that taught me to design for stories, not just screens. Podcasts, culture, and some of the best storytellers alive.
’23–’24
A chapter about community. Content clubs where followers become members, and members actually meet.
’24–Now
My current chapter. [cafeteria] is a direct line between brands and the people who shape culture, and it arrived just as generative AI took off. Coming from scrappy startups where everyone wears a lot of hats, the timing couldn’t be better: our team moves at the speed of an idea, and I get to help shape all of it, from product to film.
teamcafeteria.com ↗2027 Report ↗TechCrunch ↗Fast Company ↗Billboard ↗
![The [cafeteria] app icon over a halftone wall of real moments](assets/img/cafe-app-icon.webp){kind=icon}
![Three [cafeteria] app screens: a table chat, your stats, your interests card](assets/img/cafe-app-three.webp)
![[cafeteria] for brands: S/NTH home, ask anything](assets/img/albums-laptop-home.webp)
![[cafeteria] for brands: an insights album with S/NTH chat](assets/img/albums-insights.webp)
![[cafeteria] wordmark](assets/img/cafe-1.webp)
![[cafeteria] marks](assets/img/cafe-5.webp)
![Ten [cafeteria] doodle personas](assets/img/cafe-personas.webp)
![be brilliant™ [cafeteria] hoodie, front and back](assets/img/cafe-hoodies.webp)
Now & Then
Building blocks
The chapter that goes on forever. Playing with ideas before they have a reason to exist, chasing the ones that turn out to mean something, and using every one of them to keep refining the craft.
Select a project to open it ↗
’26
Experiments · 01 of 04
Soundprint turns recorded sound, a song or a voice memo, into a single line drawn like a fingerprint, then screenprinted by hand at 22×30. Each print carries a QR code that plays the sound it came from.
Soundprint Studio lets anyone upload a recording, make their own, and export it as a print or an animation.
’20
Experiments · 02 of 04
A pay-as-you-go marketplace for workouts, uploaded by anyone and available to everyone.
Training through COVID, I couldn’t find one place where everyday people and trainers could post workouts, train together and get paid for it. So a few friends and I designed and built it for iOS.
’24
Experiments · 03 of 04
Exploring 3D animation in Spline, and canvases wrapped onto a 3D surface.
Playing here is how I learned to build 3D elements that move: weight, light, and the little bit of give that makes an object feel alive.
’21
Experiments · 04 of 04
Exploring how an app you use every day could be better.
A weekend on Strava’s growth: connecting you with the people already running your routes, making your stats worth sharing, and giving the brand a more human voice.
∞
Underpainting
This is the chapter without a screen. My work is rooted in the quiet moments that often go unnoticed.
I explore closeness, memory, and the resonance of ordinary experiences, and transform those moments into studies of what it means to be human.
Select a painting for its details ↗
’24
Fine art · 01 of 12
Painted alla prima over multiple sittings on Stonehenge Oil Paper.
A reflection on one of life’s earliest and most enduring friendships: the bond between a child and a beloved dog.
Interested in this piece? I’d love to hear from you.
’25
Fine art · 02 of 12
Painted alla prima over multiple sittings on Stonehenge Oil Paper.
Before self-consciousness and expectation, there is simply the joy of making. This piece celebrates the freedom and focus of a child immersed in creation.
Interested in this piece? I’d love to hear from you.
’26
Fine art · 03 of 12
Painted alla prima in one sitting on Stonehenge Oil Paper.
This study captures the simple but memorable experience of being seen by another living creature. For a brief moment, observer and subject become equally curious about one another.
Interested in this piece? I’d love to hear from you.
’22
Fine art · 04 of 12
Painted alla prima over multiple sittings on Stonehenge Oil Paper.
An ordinary moment made monumental. A quiet reminder of the intensity, vulnerability, and wonder of being young. This piece was the first of a series of portraits in this style.
Interested in this piece? I’d love to hear from you.
’23
Fine art · 05 of 12
Painted alla prima over multiple sittings on Stonehenge Oil Paper.
How much information do we need to begin to understand someone? A few details prove enough to suggest a life, a history, and a presence beyond the frame.
Interested in this piece? I’d love to hear from you.
’22
Fine art · 06 of 12
Painted alla prima over multiple sittings on Stonehenge Oil Paper.
Through distortion, fragmentation, and the erosion of form, this self-portrait explores the unsettling experience of watching one’s sense of self begin to slip away.
Interested in this piece? I’d love to hear from you.
’22
Fine art · 07 of 12
Painted alla prima over multiple sittings on hand-stretched canvas.
What is absent often demands more attention than what is present. Suspended between familiarity and impossibility, the work explores absence not as emptiness, but as a space for reflection, projection, and meaning.
Interested in this piece? I’d love to hear from you.
’22
Fine art · 08 of 12
Painted alla prima over multiple sittings on Stonehenge Oil Paper.
Behind the comfort of a well-loved companion, the subject offers a presence far older than her years. Through her gaze and quiet expression, she asks not to be observed, but to be met. What might otherwise pass unnoticed becomes impossible to look away from.
Interested in this piece? I’d love to hear from you.
’22
Fine art · 09 of 12
Painted alla prima over multiple sittings on Stonehenge Oil Paper.
Through careful cropping and selective detail, the painting invites viewers to discover how little information is needed for an image to feel complete.
Interested in this piece? I’d love to hear from you.
’24
Fine art · 10 of 12
Painted alla prima in one sitting on Stonehenge Oil Paper.
A 5 × 7 portrait study exploring color temperature, edge control, and form. Built without the use of black or hard outlines, the image relies on subtle shifts in value and color to create structure and presence.
This one isn’t available, but commissions are open. I’d love to hear from you.
’24
Fine art · 11 of 12
A study of color, this piece consists of 900 uniquely hand-painted squares.
Discovered among a collection of forgotten family slides, the image initially appears as nothing more than a field of colored squares. Step back, however, and a different story emerges: a hero of his day, captured by a person who loved him. Though both remain unknown, the painting honors the enduring power of ordinary moments to survive long after names and histories have been forgotten.
Interested in this piece? I’d love to hear from you.
’26
Fine art · 12 of 12
Painted alla prima over multiple sittings on Stonehenge Oil Paper.
Through carefully adjusted light, shadow, and color relationships, the scene is transformed into an image that emphasizes atmosphere, emotion, and connection.
This one has found a home. Commissions are open, so I’d love to hear from you.
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