2022–2024
C3.0
Product Owner
Digital Strategy
Art Direction
UX/UI
As co-founder and product owner of Christie’s 3.0, my leadership has been instrumental in guiding the product through every stage of its life cycle—from conception to delivery. I've directed all aspects of the platform's development, including concept ideation, user research, design, and technical development, ensuring that each phase aligns with our strategic business objectives and pushes the envelope in auction technology.
My role has been pivotal in transforming the platform into a model for future auctions, transcending traditional mechanisms by moving the entire buying and selling process on-chain. This innovative approach has positioned Christie's at the forefront of digital art commerce, leveraging blockchain technology to enhance security, transparency, and efficiency for collectors and artists alike.
In partnership with a visionary team, I have overseen the seamless fusion of web2 familiarity with the advanced capabilities of web3, setting a new standard for compliance and user experience in the art auction industry. This has included spearheading groundbreaking features such as:
→ Full on-chain bidding and smart contract-managed transactions
→ Real-time bidding with ETH-USD conversion
→ Stringent automated compliance for digital wallets
→ Advanced on-chain sales tax calculation and payment facilitation
→ Strategic implementation of a layer-2 wallet system
→ Centralised auction management through a unified backend and frontend infrastructure
The design and operationalisation of the virtual gallery were also under my guidance, ensuring that it captured the essence of Christie’s heritage while embracing a web3-native interface.The initial success of Christie’s 3.0 was marked by the sell-out of Diana Sinclair’s works, validating our innovative approach and the platform's robust capabilities. As we progress, I am actively developing new features and capabilities for 2024, further propelling Christie’s 3.0 as a beacon of innovation and a futuristic standard for on-chain art transactions.
My role has been pivotal in transforming the platform into a model for future auctions, transcending traditional mechanisms by moving the entire buying and selling process on-chain. This innovative approach has positioned Christie's at the forefront of digital art commerce, leveraging blockchain technology to enhance security, transparency, and efficiency for collectors and artists alike.
In partnership with a visionary team, I have overseen the seamless fusion of web2 familiarity with the advanced capabilities of web3, setting a new standard for compliance and user experience in the art auction industry. This has included spearheading groundbreaking features such as:
→ Full on-chain bidding and smart contract-managed transactions
→ Real-time bidding with ETH-USD conversion
→ Stringent automated compliance for digital wallets
→ Advanced on-chain sales tax calculation and payment facilitation
→ Strategic implementation of a layer-2 wallet system
→ Centralised auction management through a unified backend and frontend infrastructure
The design and operationalisation of the virtual gallery were also under my guidance, ensuring that it captured the essence of Christie’s heritage while embracing a web3-native interface.The initial success of Christie’s 3.0 was marked by the sell-out of Diana Sinclair’s works, validating our innovative approach and the platform's robust capabilities. As we progress, I am actively developing new features and capabilities for 2024, further propelling Christie’s 3.0 as a beacon of innovation and a futuristic standard for on-chain art transactions.
2016–2024
Christie's
Campaign
Digital Strategy
Art Direction
UX/UI
Branding
Exhibition
Digital Transformation
Since joining Christie's as International Creative Director in 2016, I have led over 50 creatives in producing original exhibitions, digital campaigns, and artist publications, collaborating with artists, gallerists, and specialists.
As part of the digital leadership team since 2020, my focus has been on pioneering digital innovation and UX platform development, propelling Christie's as a online auction industry leader. In my tenure as Global Head of Digital Design & Innovation, I launched an internal innovation lab, advancing Christie's into AR/VR, developing a SaaS platform for art fairs, and building luxury augmented reality applications, whilst leading the evolving Christie's UX/UI for website and iOS app.
Tasked with revamping the front-end of Christie's digital presence, I led a team of 10 UX Designers, partnering with various external agencies to refresh our website and design system, ensuring a superior user experience for the world's premier auction house. As a director, my philosophy revolves around vibrant, creative leadership, steering UX design for progressive, iterative website and iOS app enhancements.
My team has been crucial in incubating ventures like our Shop Platform and bespoke art fair services, substantially enriching Christie’s offerings. In my current role as Head of Digital Design, I work closely with the Head of Client Experience and CMO to innovate our omni-channel products, integrating AR and VR, and pushing the envelope with features like video chat, virtual galleries, and unique sponsorships.
Championing an 'in-house' studio culture, I've been involved holistically in the design process—from overseeing digital strategies and seller pitches to agile development and delivery. I remain hands-on in styling, campaigning, and designing, fostering an environment where teamwork meets tight auction deadlines to produce over 380 live auction creative solutions annually.
My leadership has spanned a spectrum of roles and projects, including The George Michael Collection campaign, Christie’s Magazine relaunch, and branding collection sales. I've managed over 3,456 design jobs, emphasising responsive creativity and robust production processes in Christie's fast-paced setting.
As part of the digital leadership team since 2020, my focus has been on pioneering digital innovation and UX platform development, propelling Christie's as a online auction industry leader. In my tenure as Global Head of Digital Design & Innovation, I launched an internal innovation lab, advancing Christie's into AR/VR, developing a SaaS platform for art fairs, and building luxury augmented reality applications, whilst leading the evolving Christie's UX/UI for website and iOS app.
Tasked with revamping the front-end of Christie's digital presence, I led a team of 10 UX Designers, partnering with various external agencies to refresh our website and design system, ensuring a superior user experience for the world's premier auction house. As a director, my philosophy revolves around vibrant, creative leadership, steering UX design for progressive, iterative website and iOS app enhancements.
My team has been crucial in incubating ventures like our Shop Platform and bespoke art fair services, substantially enriching Christie’s offerings. In my current role as Head of Digital Design, I work closely with the Head of Client Experience and CMO to innovate our omni-channel products, integrating AR and VR, and pushing the envelope with features like video chat, virtual galleries, and unique sponsorships.
Championing an 'in-house' studio culture, I've been involved holistically in the design process—from overseeing digital strategies and seller pitches to agile development and delivery. I remain hands-on in styling, campaigning, and designing, fostering an environment where teamwork meets tight auction deadlines to produce over 380 live auction creative solutions annually.
My leadership has spanned a spectrum of roles and projects, including The George Michael Collection campaign, Christie’s Magazine relaunch, and branding collection sales. I've managed over 3,456 design jobs, emphasising responsive creativity and robust production processes in Christie's fast-paced setting.
2011–2016
Tate
Branding
Art Direction
Production
Exhibition Design
Poster Design
My role was hands-on, encompassing the design of exhibitions, printed matter, website elements, and digital campaign materials, working alongside artists and curators to bring their visions to life.
In 2015, I collaborated with North Design Studio to refresh Tate's brand identity. Leading the in-house team, I oversaw the rollout of this new identity, which unified Tate's diverse galleries under a single, adaptable logo and typographic design. This evolution was not a complete redesign but an enhancement of the existing identity, simplifying the branding for a range of media while maintaining Tate's recognisable essence.
My work at Tate was multifaceted; I was involved in creating campaign design guidelines in 2012, leading to a series of unique yet brand-coherent posters for each exhibition. The exhibition designs – from Edvard Munch in 2012 through to Henri Matisse in 2016 were particularly notable, where the exhibit concourse became a vital part of the exhibition's concept and communication strategy.
These designs were collaborative efforts, combining the visions of curators, designers, and manufacturers to create impactful visual experiences. I also redesigned the Annual Report into a more magazine-like format, highlighting Tate's expanding global reach with a flexible grid, pull-out quotes, and project highlights.
My contributions extended to the digital realm as well; in 2015, I was part of the team responsible for wire-framing and restructuring the Tate website. In collaboration with Charming Robot, we developed a user-centric design based on thorough research and data, incorporating a powerful new search bar, a full-width image homepage with video capability, and new location-based navigation.
This period at Tate was a learning ground for me, providing invaluable experience in commercial art and design, which later influenced my decision to join Christie's in 2016. My time at Tate was marked by a commitment to integrating artistic creativity with strategic design thinking, ensuring that each project not only reflected the artistic vision but also aligned with Tate's broader institutional goals.
In 2015, I collaborated with North Design Studio to refresh Tate's brand identity. Leading the in-house team, I oversaw the rollout of this new identity, which unified Tate's diverse galleries under a single, adaptable logo and typographic design. This evolution was not a complete redesign but an enhancement of the existing identity, simplifying the branding for a range of media while maintaining Tate's recognisable essence.
My work at Tate was multifaceted; I was involved in creating campaign design guidelines in 2012, leading to a series of unique yet brand-coherent posters for each exhibition. The exhibition designs – from Edvard Munch in 2012 through to Henri Matisse in 2016 were particularly notable, where the exhibit concourse became a vital part of the exhibition's concept and communication strategy.
These designs were collaborative efforts, combining the visions of curators, designers, and manufacturers to create impactful visual experiences. I also redesigned the Annual Report into a more magazine-like format, highlighting Tate's expanding global reach with a flexible grid, pull-out quotes, and project highlights.
My contributions extended to the digital realm as well; in 2015, I was part of the team responsible for wire-framing and restructuring the Tate website. In collaboration with Charming Robot, we developed a user-centric design based on thorough research and data, incorporating a powerful new search bar, a full-width image homepage with video capability, and new location-based navigation.
This period at Tate was a learning ground for me, providing invaluable experience in commercial art and design, which later influenced my decision to join Christie's in 2016. My time at Tate was marked by a commitment to integrating artistic creativity with strategic design thinking, ensuring that each project not only reflected the artistic vision but also aligned with Tate's broader institutional goals.
2008–2011
Whitechapel
UX/UI
Design
Production
Content Management
As Head of Design & Production at Whitechapel Gallery from 2008-2011, I played a pivotal role in the gallery's visual transformation, in gallery and online. In collaboration with Spin Design Studio, I managed the concept and application of a brand refresh, coinciding with the gallery's new opening, a landmark in London's art scene known for showcasing contemporary art and championing modern artists.
My contributions were instrumental in developing the gallery's distinct visual identity. We introduced the plinth-shaped branding device, a unique graphic tool that elegantly separates the brand from the artwork, enhancing legibility while respecting the integrity of the artist's work. This approach, featuring full-bleed and closely cropped imagery, invites a personal connection with the art, fostering an intimate visitor experience.
Under my leadership, the in-house design team seamlessly integrated this new identity across various mediums, including signage, print, and design ad build of a new website. This consistency has made the gallery's materials instantly recognisable and has solidified its standing in the art community.
Collaborating with Holmes-Wood, I also guided the creation of an innovative way-finding scheme for the gallery's expansive spaces. The signage, utilising the plinth as an information holder, unifies the gallery's two buildings, maintaining a coherent visual presence across major events and exhibitions.
The combined impact of the plinth branding device, the refreshed Whitechapel Font, and the thoughtful treatment of imagery, form the core of Whitechapel Gallery's renewed and celebrated visual identity.
My contributions were instrumental in developing the gallery's distinct visual identity. We introduced the plinth-shaped branding device, a unique graphic tool that elegantly separates the brand from the artwork, enhancing legibility while respecting the integrity of the artist's work. This approach, featuring full-bleed and closely cropped imagery, invites a personal connection with the art, fostering an intimate visitor experience.
Under my leadership, the in-house design team seamlessly integrated this new identity across various mediums, including signage, print, and design ad build of a new website. This consistency has made the gallery's materials instantly recognisable and has solidified its standing in the art community.
Collaborating with Holmes-Wood, I also guided the creation of an innovative way-finding scheme for the gallery's expansive spaces. The signage, utilising the plinth as an information holder, unifies the gallery's two buildings, maintaining a coherent visual presence across major events and exhibitions.
The combined impact of the plinth branding device, the refreshed Whitechapel Font, and the thoughtful treatment of imagery, form the core of Whitechapel Gallery's renewed and celebrated visual identity.
