我为活动和永久性装置设计体验和环境。我还与画廊和场馆合作，帮助它们管理和展示交互式项目。

我的职业生涯始于为戏剧和舞蹈设计灯光。我自学了编程，并扩展到创造互动艺术品。

光之所以强大，是因为它讲述了世界的故事。无论是白天还是黑夜，黄昏还是拂晓，是在户外还是藏在地下，是惊悚的还是美丽的，是年轻的还是老的，是善良的还是邪恶的或者介于两者之间的灰色地带。就像音乐一样，一束光的一个音符可以深刻影响故事的感知。光超越了语言障碍。这就是为什么当我解决一个设计问题时，我首先想到的工具总是光。

我制作互动作品和游戏的原因是因为它们将观众变成了表演者，通常是无意识的。这与我设计灯光的经验相契合。你可以设置一个灯光场景，只需按下一个按钮，配合节拍的起伏，整个舞台上的世界就会被转化。这样，环境本身就能与音乐或行动一起表演。通过将这种控制权交给观众，他们可以在不必学习剧本或演奏乐器的情况下，体验到表演的乐趣。通过合适的界面，他们可以获得自由演奏、协作创作和参与更大事件的能力。他们可以将自己的行动与对世界的影响联系起来。激发观众的潜能并建立联系，这是我所有互动作品的核心理念。

我有一个平衡创意和技术实践的整体方法。我相信，在项目中选择适合的创意解决方案才能产生最佳结果。而最好的创意解决方案则来自于对有效技术解决方案的了解。因此，虽然我不相信为了技术而使用技术，但我确实相信你必须深入了解并与技术进行互动，才能获得最佳结果。

我有一个非常简单的理念来确保项目的成功。我确定我们向观众所承诺的核心内容。例如，某项技术可能会带来对用户界面直观性的高期望，或者某种音乐可能会唤起强烈的情感体验。这些是观众对作品的基本期望。为了确保卓越，我们必须始终超越他们的期望。

在我的职业生涯中，最令人满意的部分就是我和那些了不起的人一起工作。我有幸在澳大利亚和世界各地领导项目，我真诚地相信制作出杰出的作品的关键是与杰出的团队合作。活动行业是一个充满不可移动的截止日期和巨大理念的美丽混合。我经常发现我的合作者都是那些可以在这个环境中蓬勃发展的人，因为你在活动行业中培养的团队合作、协作和管理技能是首屈一指的。

I design experiences and environments for events and permanent installations. I also work with galleries and venues to help them manage and exhibit interactive project.

I began my professional career designing light for theatre and dance. I taught myself to code and expanded into creating interactive artworks.

Light is powerful because light tells us the story of the world. Day or night. Dusk or dawn. Out in the open or hidden underground. Scary or beautiful. Young or old. Good or evil or that grey area inbetween. Just like music a note of light can deeply influence how a story is perceived. Light transcends language barriers. This is the reason that when solving a design problem the first tool I reach for is always light.

I make interactive works and games is because they turn audiences into performers， often unconsciously. This connects with my experience of designing lights. You can setup a lighting scene so at the press of a button, at the drop of a beat, an entire world onstage is transformed. So that the environment itself is performing along with the music or action. By putting this kind of control into the hands of an audience they can experience the joy of performing without having to learn a script or play an instrument. With the right interface they can be empowered to jam and collaborate and create and be part of a larger event. They can connect their actions to the effect they have on the world. This idea of empowering and connecting an audience is at the heart of all my interactive work.

I have a holistic approach that balances creative and technical practice. I believe the best outcomes are achieved when the creative solution is right for the project. In turn the best creative solutions come from knowledge of effective technical solutions. So whilst I don’t believe in using technology for technologies sake, I do believe you have to play with the tech and know it inside out to get the best result.

I have a very simple philosophy to ensuring projects are successful. I identify the core promises we are making to the audience. For example a certain technology might come with high expectations about intuitiveness of the user interface, or certain music might invoke a scale and depth of feeling. These are the base expectations the audience brings to the work. To ensure excellence we must exceed their expectations every time.

The most satisfying part of my career has been the amazing people I’ve worked with. I’ve been lucky enough to lead projects all over Australia and the world and I truly believe the key to making exceptional work is to have an exceptional group of people to work with. The events world is a beautiful mix of immovable deadlines and huge ideas. I usually find my collaborators are those who can thrive in this environment, because the teamwork, collaboration and management skills you develop in the events world are second to none.