Professional Summary
Born in Nashville in 1983, he grew up somewhere between the country music industrial complex and the VHS rental economy. By 2003, he had landed at Western Kentucky University, pursuing a BFA in Graphic Design (back when design students still hoarded Letraset sheets and learned Quark before it became a trivia answer). A decade later, with more mileage and caffeine in his system, he enrolled in the MFA program at Vermont College of Fine Arts (2015–17), a school that reliably manufactures thoughtful designers who are equally adept at writing, teaching, and dismantling the myth of “good taste.”
His work has wandered into a strange set of publications: Graphic Magazine (South Korea, 2021), Visual Strategies for the Apocalypse (Wordshape, 2019—a title that reads like self-help for people who collect type specimens), GD USA (2017), Monthly Design (South Korea, 2015), UC.Quarterly (2013–14), and even Print Regional Annual (2011), back when print still thought it could save itself by being louder.
The exhibition list reads like a tour itinerary of places that are nearly famous: The Packing Plant in Nashville (2018), Jeju Yeon Gallery in Jeju-do, South Korea (2016), Miami University in Ohio (2012), the Art Academy of Cincinnati (2011). Together, they form a constellation of cultural microclimates where design still pretends it matters as much as painting.
Now he splits time between roles that sound like a networking dream and a tax nightmare: director and cofounder of Funeral (Brooklyn, NY), educator at the University of Cincinnati, curator at Us by Us, typographer at Bad Type Club. When he’s not doing any of those things, he leans into the analog: writing, patching up his house, tinkering with vintage mopeds that refuse to start, or playing music at volumes polite neighbors would describe as “aggressively nostalgic.”