I get inside systems— markets, technologies, organizations, perceptual worlds— and figure out how they actually work. I’ve been doing this since before I had language for it: as a neurodivergent person who learned to read the architecture of systems by living inside ones that weren’t built for me, developing the pattern recognition that now shows up as strategic foresight and experimental art.

For four years, I worked inside applied neuroeconomics— translating decision-making psychology for top-5 hedge funds, CEOs, asset managers, and Olympic athletes through a consultancy led by Denise Shull, one of the most recognized figures in market psychology. I translated a decade of decision science into things people could actually use— a 262-lesson eLearning curriculum, workshop content for executives managing billions, and the written voice of the firm itself. I overhauled the brand so that ReThink reflected what it actually was— a firm whose depth had always outpaced its visibility— and established a digital presence that finally matched the caliber of the work happening behind closed doors.

Now I lead strategy at Kiingo AI, an AI business literacy startup— prototyping products, building AI literacy curriculum, and designing the internal infrastructure, automations, and data systems underneath all of it. The method is the same as everything else I do: get inside the tools, talk to people on every side, experiment, play, read widely, and build for the version of the industry that’s actually coming.

The through-line: I’m drawn to umwelts— perceptual worlds— and the distance between what a system appears to be doing and what’s actually driving it. Once you can map that distance, you can start to anticipate what it’ll do next. That’s where the real strategy lives, and the process is remarkably similar whether the system is a hedge fund manager, an AI model, or a goose.

My experimental art practice applies the same framework from stranger angles. I honk at geese in Boston parks. I ask AI to compose music as if it were a goose. I mimic animal behavior, ask AI to mimic me mimicking the more-than-human world, then dissect what it misses, adds, and refuses. I create robots with alien umwelts and ask them to create visuals from human language. I call this practice absurdity as offering— using play and thought experiments to ask complex questions. My research draws on philosophy of language, psychology, speculative fiction, posthumanism, and ecology. I’m most interested in the gaps between how we attempt to be understood and how we’re actually perceived.

MFA, Tufts School of the Museum of Fine Arts. 2025 Kennedy Center Emerging Artist. Work featured in Digital America, The Wrong Biennale, and the CREA Venice Open. Guest Lecturer and Field Guide Mentor at the Royal College of Art.

Always open to collaborators, co-conspirators, and interesting conversations.