A Little Background

I’ve spent most of my life behind the scenes of entertainment—
where ambitious dreams and ideas become real life experiences.

I first started working large tour productions in late 2002 with
“Tony Hawk’s- Boom Boom Huck Jam” tour,
featuring the band Offspring.

Much of my career since then has been spent as a stage-tech/rigger
for some of the largest touring productions in the world,
just a few include Cher, The Rolling Stones,
Lady Gaga, and many others.

I started rigging in early 2003 with Metallica’s’ Summer Sanatarium tour.
Rigging, in entertainment, is the largely unseen architecture of nearly every show.
Riggers suspend the lighting, video, audio, scenery, pyro/special effects—
and occasionally even the performers themselves.
Often in a new venue for every show.

It requires precision, problem-solving, an understanding of scale, and absolute trust.

I was able to use that rigging experience, to start working
with all the different departments, to really explore the ways
of the stage.

My curiosity pulled me through nearly every corner of the production world:
lighting, audio, video, cameras, theater systems, high-angle work, and on the
side I was learning to build computers, design websites/graphics,
fabrication for multiple projects, even a little hydroplane team fun.

I sold a couple lighting inventions to the city of Seattle, painted a few murals
and more recently I’ve been getting more into the lighting design world for film and stages..

Over the years, those skills became something far more valuable than a résumé.

They became a creative vocabulary.

I learned how things are engineered, how they are illuminated, how they move,
how an audience experiences them—and how a small detail
can completely change what someone feels.

That is ultimately what led me to becoming the artist I am today.

I have always been fascinated by illusion. As a child, it was
magic tricks and optical illusions. Today, it’s become the machinery of show business:
light, scale, atmosphere, perspective, timing, and surprise.

I still chase the same reaction.

That moment when someone stops, looks again, and realizes
they are experiencing something they did not expect.

So when you bring me an idea, just know,
I don’t approach it from a single discipline.
I bring a lifetime of them.

And together, we can create something that is not simply beautiful
or impressive—but distinctly yours, and very difficult to forget.