About Me
[ Practice · Scale · Taste ]
I still make the work.
That distinction matters.
I’m not interested in being that person who understands the tools just well enough to explain them to everyone else. I’m in them. I’m making images, motion, video, testing models, breaking workflows, finding the edges. Earlier this week. Last night. This morning.
There is no shortage of people talking about AI. I’d rather figure it out.
Same shot, two engines. Image GPT, left; Krea, right, and the keeper. GEN AI.
Making something engaging is the easy part.
The interesting problems arrive later. Version 200. Market number 17. A team spread across multiple timezones, none of whom were in the room when the original idea came to life. And the clock never stops ticking. At that scale, creative direction stops being about making the next thing and starts being about deciding what should exist in the first place.
What gets made. What doesn’t. And why.
That instinct didn’t start with generative AI tools. I’ve spent 25 years making creative work, thirteen of them running a studio before any of this existed, building brands from nothing and then defending them once other people got their hands on them. That’s a different skill than making one good thing. It’s knowing what the client wants, not what they asked for. Knowing what a brand looks like on its worst day, in someone else’s hands, and holding the line. Knowing that localization means something different in Rio and Lisbon, LA and Madrid, Paris and Montréal, even though a spreadsheet files them as the same.
AI didn’t create these challenges. It just multiplied them.
So I build for that too. The systems, the standards, the decision-making frameworks that let creative thinking travel without getting diluted on the way. Because generating ten thousand pieces of content is no longer particularly impressive. Keeping those ten thousand from becoming ten thousand slightly different brands, that’s where a lot of AI creative quietly breaks.
And then there is taste.
For all the talk about generative work, taste remains stubbornly analogue. The ingredients for the best things I’ve made always seem to start in some darkly lit room, surrounded by interesting people, strange art, and intriguing conversation. There’s no shortcut to any of it. And I wouldn’t have it any other way.
The goal isn’t to build a team that makes things like I do.
It is to build a team that knows why something works, and can make the call without me.