How is that possible?
I think it was 2020, maybe 2021. I read a story in Wired Magazine on A.I. It didn’t seem possible. Was it hype? Another overpromise of something massive? Whatever it was, I was all in. I jumped in early. First using ChatGPT in 2022 as a thought partner and writing collaborator. Then Midjourney later in the year cracked open visual exploration. From there the workflow expanded fast. Motion. Filmmaking. Prototyping. Voice. Systems. Live creative iteration. Today I work across close to 20 AI platforms as part of real client workflows and personal experimentation. Not as shortcuts. As creative multipliers. The work below is a snapshot of how I’ve been integrating AI into modern creative practice while staying grounded in ideas, storytelling, craft, and execution.
It’s the summer of 2024 and I’m half-watching the Paris Olympics. At some point I start Googling random Olympic history. Probably because badminton was on.
Then I stumble onto something that stopped me cold. Women first competed in the modern Olympic Games in Paris in 1900.
Paris.
Same city. Same Olympics. One hundred twenty-four years earlier.
I’m the dad of two strong girls and somehow I never knew this. More surprising, it barely felt talked about during the 2024 Games. No massive cultural moment around it. No real mythology built around these women who showed up anyway, decades before modern sports culture knew what to do with female athletes.
That idea got stuck in my head. What would Nike or Adidas have done with this story if they existed in 1900? What would these athletes have looked like through a modern sports culture lens?
I dove in.
These images became a collision of eras. Historical fiction mixed with campaign thinking. A reminder that the mindset of modern female athletes existed long before the world caught up to it.
What started as static concept art eventually evolved into cinematic storytelling using emerging AI filmmaking tools.
2024
In 2025, a team of technologists who broke off from Cisco approached me to help them launch a new product. Think Uber Eats for school lunch. This product became Buy My Lunch. Since then, the project has turned into a little bit of everything: brand identity, UX, app development, website builds, sales materials, social content, and the daily chaos of building a company from scratch. A lot of the ecosystem, including the site itself, was built using THEO, a GenAI-powered, SEO-first website building platform. Equal parts startup sprint, brand build, and ongoing experiment in how AI tools fit into modern product development.
2026
I got handed a pitch brief for a pharma client launching a treatment for Demodex mites. Eye mites. Which is both medically important and deeply disgusting. The brief was basically: go make something weird. Get noticed. Perfect. Using AI as part of the concept process, we built out strange cinematic campaign worlds like DUST BOWL CIRCUS and RED EYE DINER. Part pharma pitch. Part fever dream. A good example of how AI started becoming a real tool for fast world-building and visual storytelling during early creative development.
2024
While leading brand and experiential work for UiPath’s FORWARD conferences in Las Vegas, I watched AI move from experiment to real creative infrastructure fast.
In 2023, we used early generative AI for moodboards and visual exploration. By 2025, those workflows expanded into key visuals, motion systems, narrative films, and live event content. What started as experimentation quickly became embedded in the creative process for large-scale global brand experiences.
2022 - 2025
