High-Budget Live Productions & Immersive Activations

My father, a Haitian musician, taught me that a room has a pulse before anyone says a word, and that the job of anyone who builds an experience is to find that pulse and move with it. I have been doing exactly that since high school, when I started throwing events because I could already see what other people only felt: how a space fills, where energy gathers, when a moment is ready to turn.

 

That instinct never left me. It only got sharper and more deliberate. I earned my master's from Columbia and built a career that refuses to sit inside a single lane. I am an artist whose solo shows have been written about in art publications, a producer who has owned and run my own production studio, and a strategist fluent in the demands of corporate event experience.

 

Most people pick one of those worlds. I learned to speak all of them, and to translate between them, which is its own rare skill. What ties it together is range with control. Running a studio taught me the unglamorous parts: budgets, timelines, vendors, the hundred small decisions that decide whether a vision survives contact with reality.

 

My art practice taught me the opposite discipline: how to protect an idea, how to make something that lingers after the lights come up. Corporate work taught me to deliver both, on schedule, at scale, for stakes that matter. That is what an executive producer actually is. Not the person with the loudest title, but the one who holds the whole shape in their head, the pulse and the spreadsheet at once, and makes sure everyone else can do their best work inside it.