Work
Where I've been.
What I've built.
The context behind the work, not just the titles.
What it means to bring people into an institution.
The Young Patrons Circle exists to bring a younger, more diverse audience into relationship with San Francisco Ballet, as people who feel connected to what the institution is doing and want to be part of it. That requires designing experiences that feel earned, building partnerships across the city's cultural ecosystem, and doing the sustained relationship work that makes a community real rather than just a list.
The Gala is one night. The work I care about happens the other 364 days.
Where I learned how the art world works.
At Sotheby's, I managed post-auction operations for auctions bringing in tens to hundreds of millions of dollars. When a work sold, what followed was payment, logistics, and cross-border compliance. I coordinated with collectors, Department Heads, Key Client Managers, and international partners at once. Precision and relational intelligence were both on the line.
What I took from it was a real understanding of how the art market works and what matters to the people in it.
Cairo, 2010. Seven countries. The Arab Spring.
I went to Cairo on a Rockefeller Fellowship (one of six Harvard seniors selected) with determination and an esoteric plan to understand contemporary Egyptian identity through the arts. I ended up running an international short film festival across Africa from Townhouse Gallery, one of the most prominent contemporary art spaces in the region.
The Arab Spring broke out during the fellowship, with Tahrir Square just around the corner from the gallery. I kept the festival running through it, maintaining partnerships across seven nations while the country was mid-revolution. The arts weren't separate from what was happening in the streets. They were part of it.
An argument I kept having, turned into a platform.
San Francisco's arts scene is alive, specific, and worth showing up for. I built San Francisco Has [No] Culture to surface it, through writing and events rooted in knowing what's here.
It's also become a real window into the SF arts scene. Knowing the venues, the organizations, the emerging voices means I have something concrete to offer people who want to engage with this city's creative world and don't know where to start.
First operations hire. Nineteen markets later.
Divvy's mission was to help people become homeowners. I joined when it was small and the operational model was still being worked out. I spent the next five years building the team (1 to 16), the infrastructure (1 market to 19, 12,000+ active customers), and the systems that work at scale. I also built the buyback program from scratch, which made that mission real.
Getting independent films to the people who should see them.
Filmhub distributes independent films to streaming channels worldwide. When a filmmaker submits a title, my teams handle everything between submission and screen — reviewing content, preparing files to each channel's technical specifications, and managing the relationships with partners like Amazon, Tubi, Apple, and Roku. I work with Product to build the automated systems that let us do this at scale, and own the metrics that tell the company how the whole operation is performing.
Independent film is where the stories that wouldn't otherwise exist get told. The infrastructure I build delivers them to audiences.
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