I cannot remember a time when I was not recreating and redesigning the world around me or creating new ones in my head; from dreams, from films and the built world. I have always wanted to add to the conversation about forms and image and story all around me.

Growing up amongst stony woodlands and mill towns of New England I swooned over the ghost fields left marked by thousands of miles of forest stone walls, scenes of long forgotten back breaking labor. The boarded up mansions with the terraced Italian gardens gone to seed. The endless bay windowed row houses on streets unchanged since Sargent walked them. All have sung a song for me.

It started with being bowled over by the masterful Ken Adams, making symmetry sing for him in the designs for every Kubrick film. Walking the streets of New York City in the late 70s while studying at Columbia University, looking at but also wanting to look away at a built environment where every inch looked like a war had been fought on it. Then calibrating and expanded that truth by the works of Scorcese and Lumet. Then a year in Europe designing sets and props for a most guerrilla and over the top of traveling theater groups; a life style of rehearsals in the olive groves outside Malaga to doing inventory above the Melkweg in Amsterdam. To the setting up the stage in the Banlieue Rouge outside Paris for a crowds of Algerian families. The world opened up to me.

Attended Architecture School at UCLA in the 80s with Charles Moore and Frank Gehry ruling every roost and creating a new LA type of modernism. Light never knew its own beauty and noir-ish dread till it hit the sunbaked stucco alleys of LA redolent of De Chirico and Polanski and Ask the Dust. I was never going to spend 3 years on one hospital building I realized, not with the stories inherent in those alleys and baked dingbat and 20s Spanish low rises that I drew and photographed. Someone was telling those stories, and the ghost fields and forgotten stonewalls’ stories, and those of the blocks of upper Broadway near 125th street that was like the back of my brain for the years I lived there, and ever since. And I wanted to be part of that… and since my first day on a TV show in the 90s I have been part of the push and pull design for film and TV. Reading the scripts intensely and trying to give back to them beyond the imaginings of their creator. So as to add to the layers inherent in their visions.