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Surrounded by the architecture of Chicago in my youth, I’ve always been drawn to design. Working for a few years as a Project Manager in Architecture helped me realize that this was not the path I was destined to pursue. Instead, I headed for the faster pace of Hollywood.

Since moving into the Entertainment Industry, I’ve designed for soundstages, theatrical stages, studio backlots and locations, and almost all of my projects have been comedies. After working as Art Director on National Lampoon’s Van Wilder, The Man Show, and Jimmy Kimmel, Live!, I jumped onto a partly-scripted/partly-improvised half-hour comedy series, Sons & Daughters. The following six seasons (...and a movie) on Entourage invited me to peek inside some of the most exclusive locations in Los Angeles.

My ability to develop creative solutions led to a Production Design credit for the ensemble comedy, Happy Endings. Helping to flesh out characters and stories by developing their environments has made life in the Art Department even more fulfilling. The past five seasons on Brooklyn Nine-Nine have offered an exciting variety of design challenges - from a sinkhole in rural Pennsylvania to a convention for fantasy fans, with stunts and special effects to consider, too.

Much of my aesthetic is inspired by travel. Moving through different cities, I notice how people interact with their surroundings, and how spaces have evolved through the years. I’m interested in the creativity of design for theater and theme parks - we’re simply creating illusions in order to manipulate our audiences’ experience.

My goal as a Production Designer is to create the essence of a particular environment, allowing the viewer to lose themselves in the story as it unfolds. I am fortunate to work with talented people with whom I can construct richly-layered spaces.