With a Bachelor of Interdisciplinary Studies from LSU, I pair a creative’s eye with the leadership, communication and business skills to lead creative teams effectively within any organization.
I have always made creative work inside organizations that weren't built for it. At Dig World, I went from team member to creative director at a growing local business. At LSU, I spent two years as a student producer creating content within institutional brand standards. At Southstone Church, I served a ministry team whose creative communication answers to a mission, not a market. Today I lead marketing at Universal Lithium Battery Supply, an industrial energy company where every request is weighed against cost and ROI. I also run SVNTH STUDIOS, where I am the one pitching creative vision to clients. On every one of those creative teams, the hardest part was rarely the creative work itself. It was getting people who think in numbers to trust work whose value is felt.
Bridging Code and Culture names that problem and offers a framework for solving it. It draws on Edward T. Hall's high- and low-context communication (CMST 3118E), Hersey and Blanchard's Situational Leadership (LHRD 4723E) and the financial logic of ACCT 2000E and FIN 3715E. From these, it argues that the friction between non-creative managers and creative teams is not a talent problem but a mismatch of communication codes. My answer is Code-Translational Leadership. It translates creative concepts into the low-context language of ROI that executives act on, and it translates budgets and deadlines back into terms creative teams can work with. It also extends situational leadership upward, to the leaders I need to influence but do not manage.
This reflection is the clearest evidence of what my BIS degree gave me. No single concentration could have solved this problem, but together communication, leadership and business became one way of working. The reflection also marks a transition in my career. I am moving from being the creative person who learns to get by inside non-creative organizations to being a creative director and brand strategist who builds that bridge on purpose, for my teams and for the leaders who invest in them.
Read the Full ReflectionIf you're looking for a creative leader who can sit in a budget meeting in the morning and run a film set in the afternoon, this site is my case for why that's me. These are the four parts of me you'd be hiring.
Universal Lithium Battery Supply · 2024 – Present
I lead the marketing department for an industrial lithium-energy company. My job is making a technical product feel trustworthy, innovative and worth the long-term investment.
Founder & Creative Director · 2023 – Present
I founded SVNTH STUDIOS, a content agency built on bold brand development and cinematic storytelling, to turn what's in a client's head into something they're proud of.
Dig World · LSU · Southstone Church · ULBS
I've grown quickly wherever I've been trusted with people. Each time, I've learned to lead creative work within someone else's priorities.
Louisiana State University · BIS
My degree brings leadership, communication and business together into a single framework for leading creative teams in performance-driven organizations.
Most of what I know about creative leadership I learned by doing creative work in places that weren't built for it. Here is what each role taught me.
Nobody assigned me these questions, but I keep coming back to them. As AI and real-time analytics take over how companies judge marketing, how do you protect the human instinct behind great creative work? And could there be a better way to measure brand equity than the next quarterly report? I'm working on both in my own campaigns at ULBS and with clients at SVNTH.
Looking back over the last few years of school and work, the biggest change wasn't a new skill. It was how I see the same situations I've always been in.
When leadership pushed back on a creative pitch, they were rejecting my work. It felt personal.
Most pushback is a translation problem. I was pitching in brand feel while they were listening for ROI. Once I learned to reframe the same idea in their terms, the conversation changed.
Leadership meant managing the people below you.
Some of the most important leading I do is upward, influencing executives I don't manage so my team gets the trust and budget it needs.
Good creative work speaks for itself.
Good work needs an advocate who can speak both languages, creative and business. That's the role I want to play for the teams I lead.
School and work were two separate tracks I had to balance.
They became the same project. What I learned in CMST, LHRD and business courses I tested at ULBS the next week, and what happened at work gave my coursework something real to explain.
“The conflict between non-creative managers and creative teams is not an inevitable battle between finance and creative. It is a structural communication gap.”— From Bridging Code and Culture
Things I've written, built and produced in and out of the classroom.
A brand film that positions ULBS lithium batteries as the future of industrial operations. It's built to make a technical product feel trustworthy, innovative and worth the investment, and it's a real example of the creative-to-business translation my reflection is about.
Watch on YouTube →A documentary I made on my own, outside of any class or client. It's the kind of story-first filmmaking I love most: finding the people behind a craft and letting them carry the film.
Watch on YouTube →Wedding work is where SVNTH started, and it's still some of my favorite storytelling. A wedding gives you no retakes. You have to read the room, find the honest moments and shape them into something a couple will watch for the rest of their lives.
Watch on YouTube →My Integrative Reflection. It introduces Code-Translational Leadership, a framework drawn from all three of my concentrations.
Read → DocumentA one-page summary of my experience in marketing, brand strategy, production and leadership.
Download PDF →Bachelor of Interdisciplinary Studies, Louisiana State University. Each concentration answers a different part of the same question: how do creative teams earn legitimacy in organizations that measure everything?
High- and low-context communication codes, rhetorical framing, interpersonal dynamics and how to structure a public message. This is the language of why creative work misfires and how to reframe it.
In practice: how I rebuild a pitch so executives hear the business case, not just the vision.
Situational leadership, team dynamics, motivation and organizational behavior. These are the tools for adapting how I lead to the people in front of me, both downward and upward.
In practice: leading a creative team while also influencing leaders I don't manage.
Financial metrics, capital budgeting, marketing strategy and management functions. This is the low-context vocabulary executives use to decide what gets funded.
In practice: building budget requests and campaign plans around ROI, lead acquisition and customer lifetime value.
My experience, competencies and education in a conventional resume format.