Projects using Figma in NorwalkProjects using Figma in NorwalkPORTFOLIO WEBSITE
Client: Bjorn G. Amelan (Artist)
Bjorn is a visual artist whose paintings, made on antique French hemp bedsheets in Sumi ink, acrylic, and vinylic emulsion, have been exhibited at New York Live Arts, The Garage NYC, and Longhouse Foundation, with works held in the collections of Agnes Gund and 21c Museum Hotels. He came to me through a personal connection, introduced by my brother Jonathan, who photographs for both of us.
The ask on the surface was a portfolio website. What it actually required was translation. Bjorn had strong instincts about how his work should feel but no framework for getting those instincts into a site. That gap is exactly where I work.
I started with feeling before structure. His work is intimate and monumental at once, made from the sheets he and his husband sleep on, hung like tapestries, dense with imagery that rewards the longer you look. The site needed that same quality. Unhurried, material, serious without being cold.
Everything followed from that. EB Garamond for the typography, warm off-white and near-black for the palette, a single scrolling home page with the full body of work presented chronologically. No decorative accents. No color beyond the artwork itself. The work speaks for itself and the design gets out of the way.
The build is hand-coded in vanilla HTML, CSS, and JavaScript, no frameworks, no CMS, deployed via Netlify. I also developed a full photography brief for 19 works that needed reshooting, including a shooting guide diagram, and coordinated the reshoot with the photographer. BRAND PARTNERSHIP PITCH DECK
Client: Kiss My Face / Serena Wolman (Creative Founder)
Kiss My Face is an underground dance variety show in NYC, now in its 8th iteration. Professional dancers from NYC Ballet, Juilliard, and Broadway performing in immersive nightlife environments. Founded by choreographer and director Serena Wolman, it sits at the raw intersection of high art and underground culture.
The work here was taking something that feels undeniable in a room and making it legible on paper to a brand or sponsorship audience. Those are two very different things.
I started by getting clear on the feeling KMF actually creates. Unleashed, unfiltered, uninhibited. Front row access to something you can't see anywhere else. That feeling became the foundation for the pitch, because the real value for a brand partner isn't the impressions. It's the cultural credibility that comes from being embedded in something this specific and this real.
From there the strategy shaped the narrative. What KMF is, why the moment matters, who shows up and why that audience is valuable, and what a brand partnership actually looks like in practice. Then I translated all of it into a full deck, built in the visual language of the show itself.
The goal was a pitch that felt as bold and considered as the experience it was selling. 
