Why I work across culture, technology and business

The crossover is a working responsibility

A company story, a product, a customer encounter and a route to market are not independent pieces of work. A decision about one can change all the others. My role is to carry that relationship from direction into delivery. I can move between cultural context, creative decisions, product and software, physical production and commercial requirements because I have worked inside each of them. That is the distinction I bring to a brief: connected ownership, not a collection of unrelated services.

VC-backed startup: one creative remit across the company

At VC-backed startup, a Berlin venture-backed hard-tech company, I owned all creative across brand, website, creative strategy, marketing, go-to-market, retail, customer touchpoints and production. The company positioning and investor pitch decks I developed with the CEO helped raise millions, and I joined investor meetings. For the Ku’damm store concept, I used Blender and Rhino in AI-assisted spatial exploration, developed the floor plan and led engineers and builders through the physical build within a constrained budget. The work required the company’s positioning, digital presence and physical customer experience to make sense together.

Sources: VC-backed startup: brand, GTM and retail case record ↗

Countercult: culture, software and an economic model

I founded Countercult and built open-source software with open-source stacks. The work brings public discovery, local cultural knowledge, editorial, member workflows, partnerships and paid-work models into one system. Culture is not a visual treatment added to a technology product here. The relationships, permissions, records and conditions for participation shape the product itself. Countercult Studios extends my creative and strategic practice into paid client work. Together, the founder and Studios records show how I connect cultural practice to infrastructure and commercial delivery, while keeping artists’ work and private records distinct from open-source software.

Sources: Countercult founder record ↗ Founder case studies and place work ↗ How building Countercult shaped my approach to data and design ↗

MoMA and Tommy Hilfiger: direction that can be produced

For the MoMA in New York City and Japan, my work connected retail business development, wayfinding, environmental graphics, product mechanicals, installation support and partner decks. For Tommy Hilfiger, I worked on U.S. retail experience design within a standardized system. My work included production-ready documentation, mechanicals, supplier handoffs and 3D mockups. Those projects matter to my leadership practice because a direction has to be usable for the people making and installing it, as well as coherent for the people encountering it. They provide evidence of institutional work and delivery, not simply a list of recognizable clients.

Sources: MoMA: retail, wayfinding and business development ↗ Tommy Hilfiger: U.S. retail rollout ↗

AI product strategy starts with the work

I approach AI as a product and infrastructure decision, not as a substitute for creative authorship. What does the person need to do? Which information is appropriate to use? What needs consent, review or a human decision? My software-building experience lets me connect those questions to a prototype and practical implementation, rather than leaving them in a strategy document. For an AI brief, I work on the use case, product experience, information boundaries and build plan. The question is what the system should make possible, and what it should not take responsibility for.

Sources: AI product strategy, prototyping and software builds ↗ My artist and AI perspective ↗

Globalization means working with real local context

I work between NYC and Berlin, remotely and with travel. My record also includes place work and residencies in Spain, cultural curation in Berlin and Border Fanzine with Sende, built from recipes from the Galician and Northern Portuguese border. Moving across markets means understanding what can travel and what needs to change, including the people, language, relationships and customer experience. It is not enough to translate the copy and keep every other decision intact. I bring that cultural and commercial context into the creative brief, product and partnership decisions.

Sources: U.S. and European market-entry work ↗ Sende: Border Fanzine ↗ Public founder and place case studies ↗

Public programme / Countercult × The Delta VC Ecosystem

I am listed as a host of Creative Tech & Business Exchange Day with The Delta VC Ecosystem in Berlin on 6 October 2026. The programme is described as a curated working day for artists, engineers, founders and funders.

Sources: Open the event listing on Luma ↗

The services work together around the brief

My services include creative direction and brand architecture; product strategy, UX and software prototyping; AI product strategy; marketing and go-to-market; retail, spatial and live experience; cultural intelligence and place strategy; partnerships and cross-border market entry. The engagement begins with the actual problem, not a requirement to buy every discipline. I can lead a focused part of the work or hold the direction across connected areas, with responsibilities and delivery agreed in advance.

Sources: Creative direction and brand architecture ↗ Product strategy and venture technology ↗ Marketing and discoverability ↗ Cross-border growth and market entry ↗

When to bring me into the team

I am most useful when a founder or leadership team needs one person to understand the proposition and carry it through connected creative, technical and commercial decisions. That can be a company launch, a brand and product transformation, a digital-to-physical experience, a cultural or place-based brief, or work across U.S. and European markets. Fractional Creative Director, Head of Creative and founder-side creative and product leadership are practical ways to structure that responsibility. We agree the remit, decision rights, time commitment and outcomes before starting.

Read the evidence and start a conversation

My career record gives the chronology and named project scope. The recruiter profile is the hiring overview. I keep a designed CV for direct sharing and a text-first version for online application systems. The case records linked here show the work behind the positioning. Contact me on LinkedIn or by email with the situation, the team involved, what needs to be ready and when. We can then decide what kind of leadership or project engagement the work needs.

Sources: Career record and recommendations ↗ Recruiter profile and selected experience ↗ Download the designed CV ↓ Download the ATS-ready CV ↓