Real-world creative experiments, human connection, technology, and trying new tools.
Dep't of Agriculture | Immersive Capture | Puppet | Photo campaign
EXPERIMENT 123:
TEXAS DEP'T OF AGRICULTURE — FARM STAND-INS
This campaign concept explores how humor and visual storytelling could make the work of Texas Farm Fresh easier to see, understand, and remember. The idea celebrates the farmers behind school meals while showing how the Texas Department of Agriculture helps connect Texas-grown food with schools, students, and healthier choices.
Making the Invisible Connection Visible
Texas farmers and ranchers help put locally grown food on school lunch trays, but the people behind that food—and the system connecting farms with schools—often remain unseen.
The idea was simple: Texas farmers are busy growing what’s for lunch, so we send their stand-ins.
SEEK:
How can you make the Texas Department of Agriculture’s role in helping schools serve Texas-grown food visible, entertaining, and easy for families to understand?
REVEAL:
Bring the farmers directly into schools... or at least their stand-ins. Life-size cutouts become recurring campaign characters while real producers, students, cafeteria teams, and Commissioner Miller explain how Texas food travels from farms and ranches to school lunch trays.
BELIEVE:
Public education does not have to feel institutional. A playful visual idea can earn attention, teach people where their food comes from, celebrate the people who grow it, and reveal the larger system connecting Texas agriculture with Texas schools.
Click to view Pitch Deck
Life-size cutouts of real producers become motionless characters inside cafeterias, classrooms, yearbook photos, and school activities. Everyone treats them like actual guests. The farmers’ real voices provide the personality and information, while the absurdity of the unmoving stand-ins creates a warm, deadpan style of humor.
The concept could extend from a video campaign into school displays, State Fair installations, photo opportunities, social content, and educational materials. The stand-ins attract attention; the real farmers, food, and program provide the substance.
EXPERIMENT 122:
PREACHER GALLERY — IMMERSIVE CAPTURE
This project is a creative invitation. I explored immersive storytelling as a way to start conversations and share ideas. Whether it leads to collaboration or just a moment of inspiration, it’s a reflection of how I work and create.
The Art of Getting Noticed
Preacher Gallery VR Capture
I used a headset-based volumetric capture workflow to scan the Preacher Gallery exhibition and translate it into a walkable, immersive 3D environment. A self-initiated creative collaboration. A lightweight experiment in introductions through making.
SEEK:
How do you introduce yourself to a creative agency without asking for a meeting?
REVEAL:
Use the act of making as the introduction. Capture the exhibition, translate it into a walkable 3D environment, and share it back as a gesture, not a pitch.
BELIEVE:
New relationships can begin with the work itself. A self-initiated collaboration can be the first conversation.
LET'S GET IMMERSIVE
PREACHER
Thanks, Jason Archer, for being open to the idea. And to everyone else who unknowingly joined in, you’re now part of the plot twist. Cheers for the cameo!
EXPERIMENT 121:
PUPPET DEVELOPMENT
This project is about play, invention, and storytelling through a character that doesn’t take itself too seriously. Whether Duckbill becomes a commercial concept, a social series, or just a weird little companion for creative experiments, it represents how I like to work: build the thing, test the idea, make it human, and follow the strange little trail it creates.
Building a Puppet From Scratch
I grew up on Jim Henson’s Muppets, Fraggle Rock, and The Dark Crystal. Somewhere in that mix, the idea of making a puppet lodged itself in my brain and apparently waited several decades to become a problem.
With no formal puppet-making experience, I spent a month learning through curiosity, trial and error, and YouTube rabbit holes. Duckbill became a handmade character built from scratch: part puppet, part product, part creative experiment in figuring things out by actually making the thing.
SEEK:
How do you bring a childhood creative instinct into the real world without waiting for permission, experience, or a perfect plan?
REVEAL:
Start with curiosity. Learn the process piece by piece. Cut, glue, sculpt, fail, rebuild, and keep going until the strange little idea in your head becomes something with a face.
BELIEVE:
Some ideas do not arrive fully formed. They have to be built by hand, tested in the real world, and allowed to become weirder, funnier, and more alive than you expected.
EXPERIMENT 120:
Photography Campaign
In 2020, I created a series of portraits with friends and colleagues, using their personalities as the starting point for constructed visual scenes. Built entirely through photography, digital compositing, and illustration, the images later became concept material for speculative brand campaigns and mockups.
The Box Portraits
Created before the generative AI boom, every image was built through photography, digital compositing, and illustration. The finished portraits then became raw material for speculative campaigns and brand mockups.
It reflects a way I like to work: start with a human observation, build a visual world around it, and see how far the idea can travel.
SEEK:
How can a portrait become the starting point for a campaign rather than the finished image?
REVEAL:
Build from something real about the person. Photograph it, exaggerate it, composite a world around it, and then test how that visual idea translates across different brand applications.
BELIEVE:
A strong concept can begin without a brief. Sometimes the most useful thing is to make the image first, then discover the campaign hiding inside it.