A life built across image, sound, systems, and cities.

I care about image, pace, sound, structure, and the unseen mechanics underneath all of them. If the process is brittle, the work eventually shows it.

I focus on both the result and the system that creates it. If the process is fragile, the output eventually shows it. That has been true in colour grading suites, on immersive installations, in music production, in teaching, and in infrastructure work. I care about the finish, but I care just as much about the chain of decisions that made the finish possible.

Over the years I have graded commercials for major Australian and international brands, designed large-scale presentations and data visualisations for government clients in the UAE, produced immersive video installations and projection mapping, contributed music to film and television, and coached hundreds of creatives through the tools and workflows they rely on daily. The common thread is not the medium. It is the way I approach problems: technically grounded, aesthetically aware, and clear about what the output actually needs to do.

My foundation is atypical for a creative career. I studied computer science, audio engineering, jazz music, and documentary filmmaking in Milan. That combination shaped how I think. It trained me to hear structure as much as expression, to see systems behind aesthetics, and to ask why a process fails rather than patching it repeatedly.

That instinct followed me across three continents. In Florence I graded television advertising with a view of Brunelleschi's dome. In Dubai I delivered content at scale for Expo 2020 and major government organisations, across immersive video, augmented reality, and high-stakes presentation systems. In Melbourne the work has deepened into finishing, motion, teaching, and increasingly the infrastructure decisions that sit underneath modern creative production.

I am extending that knowledge into coding and cybersecurity. I hold the ISC2 Certified in Cybersecurity credential and the Certificate IV in Cyber Security from RMIT. I do not see that as a pivot away from the rest of the work. As AI becomes more present in creative production, the interesting questions are becoming more technical and more human at the same time: what is being automated, what is being trusted, where does the data go, what fails first, and what makes a system dependable once real people start leaning on it.

Outside client work, I build and maintain my own home lab and self-hosted services. That matters because it keeps the infrastructure side grounded in practice instead of abstraction. Music has never disappeared either. I still think about timing, density, and emotional structure through sound as much as through picture. And I keep writing, here and on Substack, because useful thinking deserves a place to live outside the job that produced it.