About

Photography came first. Not as a career plan but as a way of paying close attention: to light, to people, to the moment before and after something happens. That instinct to look carefully at how things work has not changed, even as the tools and the questions have shifted considerably.

I moved to Berlin in 2004 and became a citizen in 2010. The city's particular combination of rigour and openness has been a productive environment for work that sits between disciplines without belonging entirely to any of them.

The professional arc runs through more territory than most CVs accommodate. Video, film, documentary, music video, and video art came early, and so did the internet. I was producing livestreams in 1999, when most people were on dial-up connections and a livestream meant a sequence of regularly refreshed images rather than anything continuous. I was making internet video while the web was still in its first iteration, and between 2006 and 2008 I ran a video show of more than 200 episodes that reached around 10,000 viewers per episode, before YouTube had made that kind of reach seem unremarkable. I collaborated with musicians and bands not only on music videos but on the video backdrops to their live stage shows on international tours: a different kind of pressure, built around real-time complexity, constantly changing location requirements, and no margin for failure.

From there: event production and cultural programming at scale, lectures and workshops on the history of internet art and on the women who built new media before it had that name, agency work producing explanation videos and interactive learning modules for international corporate clients, graphic design, social media campaigns running across multiple markets, and spatial design and operation of various client events and of a bar, gallery, and venue in Berlin that became a genuine cultural node for the better part of a decade. Throughout all of it, the underlying concern was communication: is the intended message clear, accessible, and reaching its goals? Who is being represented, how, by whom?

That thread runs directly into the current work. When generative AI accelerated into mainstream visibility, the more compelling question for me turned out not to be what it could produce visually, but what it is, how it is constructed, and what constraints are required to make it reliable and useful at scale. The shift from output to architecture felt entirely consistent with everything that came before it.

The KnowledgeHub is a working demonstration of that approach: a system designed to hold together as conditions change, documented before built, governed throughout.