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Not every project needs a deep dive to tell its story. Some are straightforward, focused and complete in their own right — clear briefs, tight timelines and purposeful outcomes. Each reflects the same intent and attention to detail that run through all my work, distilled to its essentials.
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At Politburo, I designed and built the microsite for Inxeba (The Wound), a groundbreaking LGBTQ+ film that required global positioning and needed to convey the cultural and social importance of its story. The microsite served as a crucial platform for building awareness and understanding around this significant cinematic work.
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While at Politburo, I redesigned the website for Konsep Studio, an interior design practice based in Cape Town. Liesel Crafford's passion for creating narrative-driven spaces became a pivotal element in the user experience journey, with the website design reflecting her approach to storytelling through interior environments.
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Mothersugar Gin was a Politburo in-house project — a 60-bottle limited release that deserved a space as refined as the gin itself. I built the microsite and art-directed photography with Kate Lyn Meistre.
The site was stripped back and tight. Minimal layout. Generous space. No distractions. The gin, the bottle and a few fresh ingredients spoke for themselves. Photography was soft, real and honest — fresh mint, subtle light, simple glassware. It felt like a quiet late afternoon, not a sales push. In the end the microsite felt distilled. Clean, calm, considered — just like the gin.
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For Byron Bure Academy of Theatre Art’s first-ever staged musical, Shrek The Musical, I was challenged to give a school production the confidence, clarity and visual bite of a professional show. I created a bold, flexible visual identity that could stretch from poster to stage, defining the production’s brand through a playful yet disciplined colour palette and a visual language that balanced theatrical spectacle, nostalgia with student-led energy. The hero poster anchored the campaign, designed to feel immediate and ownable rather than “schooly”, while the wider system informed typographic props and supporting visuals across the production.
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