Mirroring my own personal upheaval at the time, Noah’s music lives in the friction between holding onto the past and being pulled forward.

The challenge became translating those nuanced contradictions of life into a live concert experience. I conceived the show as a seven-act journey through time, transporting the audience to his native Vermont. Following the seasons, we took them through his darkest material and emerged with a promise of optimism and renewal.

The show centered around a metaphor of the home in each of our hearts, and the shifting of our relationship to it. The house transforms into a gas station, a familiar liminal space between destinations, before disappearing altogether.

My first art-world project, on Fire Island.

Hanging lights and smoke, and very little else. In concert touring everything is planned to the half-second. Working with performance art, we created an organised environment for chaos to occur.

A new modality of travel. The world’s first web browser built for the 3D internet.

In 2022 I became Creative Director of web3 startup [0]. I launched the brand and led development of the Ørb System. Somewhere between an immersive media player and a vehicle, it reimagined the web browser as a spatial experience.

Instead of typing in an address, we turned browsing the internet into something you felt. Less a product and more a proposition, the Ørb was a speculative vessel for how we might journey through the unreal.

Unbuilt structures designed to evoke joy.

Together with artist Cyril Lancelin, we began a series of collaborations exploring the emotional potential of virtual architecture. In lockstep with technologists and virtual reality platforms, we pioneered case studies of digital architecture as art.

The Meeting Place became the first Metaverse venue dedicated to providing safe, inclusive spaces for the global LGBTQIA+ community, and helped establish new legal frameworks for virtual IP ownership.

I’m interested in the fleetingness of time: the act of remembering, its fallibility, and the permanence of change.

The work speaks to the unspoken power of objects. Through oil paint and sculpture, I question how we as humans imbue them with meaning. Fruit ripening, flowers in bloom or dying, a candle running out, a historical object forgotten and brought back to life. Time itself is my subject and muse.

On the stage, I got to dream. Time became a medium, and my Photoshop renderings became digital collages: windows into an imagined place and time.

Every one of these was a proposal: a room argued for before it existed. Some were built, most were not. Drawn and composited by hand in Photoshop across a decade, long before AI arrived.