Designing through prototypes
I turn early ideas into experiences people can see, use, and evaluate. That means moving fluidly between storyboards, interaction design, shaders, procedural asset generation, tools, and production-quality 3D assets. I enjoy the point where an abstract product question becomes a working prototype—and where that prototype becomes clear enough to influence a roadmap.
At Apple’s Vision Product Group, I push the frontier with Apple Vision Pro and next-generation spatial hardware. My work includes high-fidelity spatial applications, the visual look and behavior of Persona and FaceTime co-presence experiences, AI embodiment, generative interfaces, and agentic workflows for design and engineering. I also develop custom rendering techniques and tools to address novel challenges of emerging hardware that established workflows cannot solve.
Building for mixed reality
Before Apple, I spent eight years in Microsoft’s Mixed Reality Group developing HoloLens and VR experiences. I shipped work on Microsoft Maquette, Dynamics 365 Layout, HoloTour, HoloLens launch demonstrations, and early-access projects with strategic partners. For Maquette, I designed and programmed features including procedural assets creation tools, and spatial painting / sculpting tools.
My role combined artistic ownership with engineering: authoring performant shaders, optimizing CPU and GPU workloads, creating procedural effects and specialized UI, building artist tools, and establishing pipelines and asset budgets. A technique I initiated to mitigate HoloLens 2 display artifacts was incorporated into the product line’s firmware. I am a named inventor on six granted US patents across Apple and Microsoft, with additional applications under review.
A foundation in games and visual craft
My technical-art practice grew from many years of making games. I led technical art at Tencent Boston / Stomp Games, served as the bridge between art and engineering, and developed systems such as automatic level population, bone-controlled cloth simulation, and shader-controlled mesh swapping. Earlier at Activision, Black Ops Entertainment, and Papyrus Design Group, I built environments, vehicles, characters, lighting, animation, and production tools for titles ranging from Spider-Man and Transformers to racing simulations.
Architecture and fine art remain central to how I think. They trained me to see systems and spaces as compositions of form, proportion, color, light, and behavior. Whether I am shaping a spatial interface or debugging a GPU bottleneck, I am ultimately trying to make complex technology feel intentional, legible, and alive.