NEW YORK BASED LIGHTING DESIGNER / PROGRAMMER

SKILLS

GRANDMA3 (PROGRAMMING, TIMECODE, OPERATION, SYSTEM CONFIGURATION)

GRANDMA2 (PROGRAMMING, OPERATION, SYSTEM CONFIGURATION)

VECTORWORKS (DRAFTING, PAPERWORK)

CAPTURE (DRAFTING, VISUALIZATION, PAPERWORK)

SHOWKONTROL / ProDJLink

PRODUCTION DESIGN

CREW MANAGEMENT

When I was four years old, I sat at a drum set.

My family embraced music and the arts, encouraging me to learn several instruments from an early age. In grade school, I performed with rock cover bands, jazz bands, and orchestras, playing everything from upright bass and percussion to electric guitar and drums. My parents took me to shows everywhere — hole-in-the-wall pubs to arenas — and one thing my father recalls clearly: "He seemed more interested in the soundboard and lights than the musicians on stage."

When high school came around, I'd already gotten my feet wet in live events working small parties, theater shows, and local concerts. I started picking up jobs with production companies, getting hands-on with DJ backline, lighting consoles, and higher-end fixtures and audio equipment. Building real shows with real gear cemented this as my career path.

During the COVID lockdown, I learned to program in Onyx, then GrandMA2, and shortly after, GrandMA3. Back in college post-COVID, I got hired by musician and DJ friends, fraternities, and the school itself to design, set up, and run their events.

A year in, I took a semester off to work as a lighting technician for a major hip hop artist on their U.S. tour. I returned for a semester, then made the decision to go all-in on live events and put college on the back burner.

A few years later, I've built an extraordinary range of experience as a lighting designer — working with hip hop artists, EDM acts, and solo musicians alike.

Coming from a music-heavy background, my design style is punctual. Whether or not a show is time-coded, the visual show smacks when the music smacks and thins out when it becomes airy. I call it a cohesive experience.