CREATIVE DIRECTOR | ARTIST | MAKER

Ideas that earn
their own attention.

I’ve designed sculptures made from recycled crates photographed over 25 million times. Digital collectibles made from live data that sports fans want to own. A livestream with an 80-piece orchestra providing the score. A mobile game that brought colleagues together through murder. The brief changes. The question doesn’t: will people actually want to be part of this?

Coca-Cola
Installation

Coca-Cola CrateFans

15-metre football fan sculptures built from 2,600 recycled crates. 25 million photos. 6 years running.

ATP Momentum
Platform

ATP Momentum

Every match at the ATP Finals had its own digital object, with fans collecting matches across the full eight days.

Intel Gaming
Activation

A date with Destiny

One of the world's most recognised gamers. Their favourite game. Backed by an 80-piece orchestra providing the live score.

Trace
Product

Trace

A platform for the fans watching from home. Built from scratch. Taken to market.

Trace
Platform

F1 [Permissionless]

Every race generates thousands of data points. We turned them into collectibles that capture the moments that mattered.

ATP Collect
Platform

ATP Collect

Toronto, Cincinnati, Shanghai, Turin. The first fan loyalty platform to run across the ATP Masters 1000 season.

Trace UEFA
Strategy

UEFA Champions League

A match-by-match collectible experience across the Champions League, designed from live ball data.

Lamborghini
Strategy

Lamborghini

How a brand built on luxury, scarcity and exclusivity enters web3 without cheapening a single thing.

Science Magic Studios
Creative Direction

Science Magic Studios

Figured out which web3 mechanics actually work, then built the system brands could buy into.

AR Living Couture
Activation

AR Living Couture

The world's first living couture dress. Worn on the BAFTA red carpet. Brought to life by EE's 5G network.

Ted Baker
Campaign

Ted Baker Mission Impeccable

Geo-locked digital vouchers, cracked via audio search through spy-themed shop windows. 85k film views. 50+ press hits.

EE BAFTA
Activation

EE BAFTA Style Scanner

Shop the red carpet live, from anywhere in Britain. 3.8 million Story views. £300k equivalent media value.

Crocs to the Moon
Strategy

Jibbitz as Hype

Turning a £5 charm into the most desirable thing Crocs ever made.

Poke Pursuit
Product

Poke Pursuit

A mobile game that brought colleagues together through murder.

No Problem Gallery
Art

No Problem Art Gallery

A gallery the size of a fish tank where artists can bring their vision to life - without the cost and fuss of putting on a real show.

Graffiti Iceberg
Art

Graffiti Iceberg

An experiment in engineering virality from scratch. 2 million views. The experiment worked.

Opepen Set 054
Digital art

The Cost of Fun

Reaching consensus to enter the Opepen permanent collection, using a style I'm known for. 910 opt-ins. Consensus reached!

Opepen Set 066
Digital art

Meta Morphosis

Reaching consensus working entirely outside my visual identity. AI embraced. 743 opt-ins. Consensus reached, again!

Digital art

Max Extraction

54 artworks given free to Set 054 holders, two years later. A gift, and a question about what extraction really means.

About

I grew up in Cape Town. While studying advertising, I started making street art and got obsessed with putting work in public spaces. I loved the challenge of trying to grab people’s attention.

I ran a clothing label and a gallery. I used guerrilla campaigns to market both. I spent some time at Animal Farm. A weird agency that invented ideas first and found clients to buy them second. The Coca-Cola crate sculptures came from there. Coke didn’t ask for it. We just turned up.

I moved to London. Over ten years I worked in digital agencies, making things for EE, Heineken, Intel Gaming, Virgin, Google. Around the same time, I was having art exhibitions in Amsterdam and making paintings and installations for an architecture firm. In 2021, I discovered the blockchain. I immersed myself in digital culture. I took that into Science Magic Studios, then co-founded Trace, a sports fan platform we built from scratch and took to market.

TL;DR
I try to make things that people would be annoyed to have missed.

Currently based in Hackney, East London
Experience

Let's talk.

Intel·2021·Campaign & Live Experience

A Date With Destiny.
And an 80-piece orchestra.

How we turned a hardware sale into a live cultural moment. And where AI would have changed the work.

The Brief

Intel was opening Gamer Days - a seven-day global sale - and needed something that could cut through with an audience that has finely tuned ad-blindness. Not a campaign gamers would tolerate. A moment they'd actually want to watch.

The Idea

Make the opening night feel like a festival headline slot.

We framed the whole event in festival language - a stage map, a lineup, the language of something worth showing up for. Then we booked the headline act: Dr Lupo, one of the most recognised streamers in the world, playing Destiny 2 live - while an 80-piece orchestra performed the game's score in real time around him.

No product demo. No talking heads. No Intel logo smashed into every cut. Just the most epic version of something gamers already loved, made possible by a brand that understood what that audience actually cared about.

Live stream: Dr Lupo playing Destiny 2, orchestra performing in real time.
Why It Worked

Gamers don't hate brands. They hate brands that don't get it.

This audience can smell inauthenticity at 100 paces, and they've been burned by brands doing "gaming moments" that feel like a suit's idea of what gaming is.

Destiny 2 has one of the most celebrated game scores ever written. The orchestra wasn't a gimmick bolted on - it was the thing every player had heard through their headphones for hundreds of hours, finally made physical. We weren't selling Intel's product. We were amplifying something they already loved. The brand earned its place by making the moment possible.

Where AI Changes This

The idea stays the same. The production ceiling moves.

The hardest constraint on this project was one nobody talks about in the case study: getting the stems took time we didn't have. The original isolated audio tracks for Destiny 2's score had to be sourced while the clock was running, which meant the orchestra started rehearsing from transcribed sheet music and their own ears.

And the orchestra wasn't playing through a fixed piece of music. They were reacting to live gameplay - Mason Bates conducting in real time, following a gamer, not a score, hitting crescendos when a firefight started, pulling back when the action quietened. Incredible musicians solving an impossible brief under pressure.

Stem separation

Tools like Demucs or Spleeter could have isolated the Destiny 2 score into clean stems from the game audio in minutes. The stems we eventually got would have been in hand from day one. Rehearsals start sooner. Less chaos getting to the same place.

Adaptive score generation

The reactive conducting could have been partially systematised - giving the conductor clearer cues and tighter sync with the action on screen. Less guesswork, more precision, same spontaneity in the room.

Personalised broadcast

The live stream was one feed for everyone. With real-time generation you start to imagine versions - different mixes, different camera cuts triggered by the most dramatic gameplay moments, dynamically identified as they happen.

But here's the thing worth saying clearly:

AI doesn't give you the idea. It doesn't tell you that an 80-piece orchestra is the right answer for a gaming audience, or that festival language is the right frame for a hardware sale. The cultural read - knowing that this community would respond to their music made physical - that's still the work. That's still the job. AI just means the production constraints that might have killed it in a pitch don't have to.

The Number That Matters
80
Musicians, performing live, reacting to live gameplay, in front of a live audience of gamers who'd never seen their favourite score treated like this.

If you want someone who knows how to make culture for this audience - and knows what's now possible in the room - let's talk.

Get in touch
Role
Creative direction, concept
Made with
Superunion, Intel
Year
2021