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I am a 3D generalist from London. I studied Computer Animation at Escape Studios, where I lead a team in developing and pitching a children's edutainment programme. I am passionate about examining our approach to design and storytelling; it's important we are critical of our established methods of visual communication, and build more robust solutions from what works. I would like to start a career in production, as the masters course has taught me that there is no greater satisfaction in this industry than making a project come together.


Describe yourself in 5 words.

Curious, excitable, personable, playful, and determined.

What are your hobbies and interests?

I love live music! Prior to Covid-19, I worked part time promoting shows all about London. I would perform, too. It was always important to me to find a place for left-field and experimental acts. I also design merchandise, branding and book covers for Seventh Row, the feminist film website.

What are your biggest strengths and weaknesses?

My biggest strength is my curiosity. I love learning, and that shines through in my work. I'm always looking for something new to work on, and am constantly diversifying my portfolio. Ironically enough, my biggest weakness is my struggle to sit still.

Describe a challenge that you had to overcome in your group projects.

Directors are often thought of as these overbearing, micro-managing artistic geniuses. Working on "Sprouts" taught me to forget that idea, and realise that any production is ultimately a collaboration. "Sprouts" is what it is because of the talent of the whole team, I merely brought it together.

Which movie inspired you the most to choose this career path?

It's Such a Beautiful Day, by Don Hertfeldt. As a kid, it may have been The Spongebob Movie, or any Pixar film, but this really redefined animation for me. I've had a lifelong relationship with cartoons, I've never really had any doubts, but this movie was the first time I saw animation as fine art. ISABD is a movie that could only be animated. More importantly, it experiments with animation in a way that directly compliments the story, in a post-modern sort of way.

Describe your favorite animated or VFX sequence.

I'm not the biggest Disney fan, but there's this sequence in Brave Little Tailor (1938) where Minny (playing a princess) runs over to Mickey to give him a hug and a kiss. I saw that a few years ago, and it still stands out to me - the layout, the poses, the sense of physical space. It's a technical marvel. What particularly gets me is the way Mickey's head rotates as he's getting smooched - it's perfect!

What was your crowning moment of your time at Escape?

Having your animated show pitched to industry big wigs is pretty swell, I have to say.