From Principal Artist to Creative Operations Manager

Eight years as a principal character and environment artist means I've sat in the same seat as the people I now build systems for. I've navigated the edge cases — the brief that changes on delivery day, the pipeline that breaks at the worst possible moment, the scope that quietly doubles without anyone saying it out loud. That experience doesn't disappear when I step into an ops role; it's what I draw on. My relationship with artists is grounded in genuine mutual respect, and the operations I build reflect that — designed around how creative work actually happens, not how it looks on a Gantt chart.