PORTFOLIO
Selected projects that showcase how I bridge arts, heritage, technology, and audience engagement, translating complex ideas into culturally resonant experiences.
The Victorian Way
Digital Storytelling at Scale: Reimagining Heritage for Viral Audiences
The Challenge
Heritage organizations struggle to reach younger, digital-native audiences. Traditional museum content is perceived as boring, inaccessible, or irrelevant. How do you make Victorian history compelling for TikTok-generation viewers without sacrificing historical accuracy?
The Approach
As research assistant for English Heritage's breakthrough webseries, I supported the production team in creating content that maintains rigorous historical standards while embracing platform-native storytelling. The key insight: audiences don't want simplified history; they want authentic, narrative-driven, immersive experiences delivered in formats they already consume.
The Work
- Conducted archival research to ensure period accuracy across costumes, language, domestic practices, and social customs
- Collaborated with production team on editorial research that balance entertainment value with educational content
- Analyzed audience engagement data to understand what resonates with digital viewers
- Supported content strategy that transformed "boring heritage" into must-watch digital entertainment
The Impact
The Victorian Way is a viral sensation, taking off during COVID and reaching millions globally. It's approach is at once dynamic and adopts the "cozy history" trend popular online and especially during an unsettling period, providing connection with audiences. It provides that heritage content can compete with mainstream entertainment when approached innovatively. The series demonstrated a scalable model for digital heritage interpretation - one that respects historical integrity while meeting audiences where they already are. Plus, it has significantly supported increase visits to Audley End House for live, in-person interpretation exhibits.
What I learned: The best cultural content doesn't dumb down complexity, it finds new formats to make complexity accessible and engaging.
Social Digital Growth
Community Building Around Challenging Narratives: A Case Study
The Challenge
How do you build engaged digital communities around difficult histories like colonialism and slavery, topics people often avoid? Uncomfortable Oxford, a heritage non-profit, needed to expand its reach across multiple UK cities while maintaining authenticity and avoiding performative activism.
The Approach
As Engagement Manager, I developed a city-specific content strategy that met each community where they were, rather than applying a one-size-fits-all approach. The key was understanding that Oxford, Cambridge, and York have different relationships with their histories and different audiences.
The Work
- Developed tailored content strategies for three cities based on local historical narratives and existing community conversations
- Created shareable content that educated without lecturing—using storytelling, visual design, and accessible language
- Built partnerships with local heritage organizations, academics, and community groups to amplify reach authentically
- Analyzed engagement metrics city-by-city to iterate and optimize approach in real-time
The Impact
Achieved between 35-67% digital engagement growth across all three cities, proving that challenging historical content can build communities when approached with nuance and strategic thinking. The campaign demonstrated that audiences are hungry for honest reckoning with difficult histories as well as experiential, live community-building experiences. They just need accessible entry points.
What I learned: Data-driven strategy and cultural sensitivity aren't opposites - they can certainly be niche, but they're partners. The best growth comes from understanding both metrics and meaning.
Media Production
7+ Years Creating Content Across Documentary, Commercial & Social Platforms
The Challenge
Great content requires understanding story, audience, platform, and production pipeline. From documentaries requiring deep research to social-first content demanding platform fluency to commercial work balancing creative vision with client needs, production is about orchestrating many moving parts toward a cohesive whole.
The Approach
I approach media production as storytelling through collaboration. Whether I'm researching for documentaries, managing post-production workflows, writing long-form scripts, or translating long-form content for social platforms, I'm always asking: What's the story? Who's the audience? What does this moment need?
The Work
- Post-Production Producer, Find the Story LLC (2025-Present): Produce content for post-production agency specializing in social platforms—translating long-form video into engaging short-form campaigns, managing concurrent client projects, collaborating cross-functionally with editors and content creators
- Documentary Research & Production (2019-President): Research for Oscar-nominated production company Spring Films (London), media research sourcing archival materials and identifying compelling narrative angles, first film credit on documentary "The Two Lives of Li Ermao.” Since then I’ve translated this skillset into media research for a forthcoming documentary on the Marcos presidencies in the Philippines, as well as regularly generating engaging, historically-accurate social content.
- Commercial & Branded Content (2018-2020): Video Associate at DiD Agency (Philadelphia): project management support for advertising agency, coordinating scheduling and workflows across multiple concurrent productions
- Independent Film Production (2017-2020): Writer-producer of short films and podcast pilots during film school, learning craft from script through post-production
The Impact
Over 7+ years, I've built comprehensive production skills across the entire pipeline, from initial research and story development through shooting logistics to post-production management and platform optimization. This breadth means I can step into any production role and understand how my piece fits into the larger whole. I speak the language of editors, researchers, producers, and creatives because I've done all those jobs.
What I learned: The best producers are multi-lingual, they can translate between creative vision and practical constraints, between client needs and audience desires, between what you want to make and what will actually resonate.
International Events
Designing Cultural Experiences: International Event Production
The Challenge
Events, especially conferences, are often transactional: people show up, hear talks, leave. How do you create events that facilitate genuine connection, knowledge exchange, and lasting impact? And how do you execute flawlessly across international contexts with complex stakeholder ecosystems?
The Approach
I approach event production as experience design, not just logistics. Every element, from speaker selection to meal timing to spatial layout, shapes how attendees connect with ideas and each other. What do we want people to feel? What conversations do we want to spark? Then work backward to design for those outcomes.
The Work
- Produced two graduate conferences for the University of York & Queen's University Belfast, and multiple fundraising events, international conferences & fellowships for Drexel University Global across England, Northern Ireland, and USA
- Managed end-to-end production: speaker coordination, vendor negotiations, budget oversight, marketing, stakeholder management
- Designed programming that balanced intellectual rigor with accessibility, formal presentations with informal connection
- Coordinated across time zones, institutions, and cultural contexts to create seamless international experiences
The Impact
Achieved 95% participant satisfaction at Drexel conferences, with attendees reporting feeling supported and connected by programming. In York & Belfast, the events brought together international thought leaders in public history, creating lasting scholarly networks and collaborative projects. Demonstrated ability to execute complex, multi-stakeholder cultural productions at international scale.
What I learned: The magic isn't in perfect logistics (though that's essential), it's in designing for human connection. Great events create conditions for unexpected conversations and collaborations.
MA Research
Research as Creative Practice: How Audiences Engage With Culture
The Challenge
Why do some cultural moments resonate globally while others don't? How do arts mediate collective memory? What makes audiences care about history? These aren't just academic questions, they're essential for anyone producing cultural content or programmes.
My Approach
My MA research explored how audiences emotionally and intellectually engage with history through arts and culture, especially in rising digital contexts. I treated my research as creative R&D, not separate from practice, but foundational to it. Key studies included:
The Work
- ‘A world of heartbreak’: the 2019 fire of Notre-Dame de Paris and heritage ‘monumentality’ in the digital space
- ‘There was an embrace in death’: Dancing traumatic remembrance in Dust (2014) and Woolf Works (2015)
- Below stairs at Audley End House: audience engagement, digital interpretation and the ‘rural-historic’
- “And for a Monument, I leave my verse”: Poet Anne Killigrew (1660-1685) and posthumous constructions of reputation in Early Modern England
- Dissertation - "The Strained Expectation of History": Qualitative research examining how humor in historical media shapes cultural memory and contributes to both education and misinformation
The Impact
This research isn't theoretical, it directly informs every project I undertake. When I develop content strategy, I'm applying frameworks about audience engagement. My academic work is my foundation for producing culture that actually connects with people.
What I learned: The best cultural producers are also cultural researchers. Understanding WHY audiences engage (or don't) is what separates good execution from transformative work.
Personal Creative Projects
Narrative Craft: Published Fiction Exploring Memory & Place
The Challenge
How do you capture the ineffable, memory, cultural identity, the weight of place? Fiction allows exploration of emotional truth in ways that non-fiction can't. These stories investigate how we carry histories in our bodies and how places shape who we become.
The Approach
My fiction explores the intersection of personal memory and collective cultural identity. I'm drawn to liminal spaces - geographic, temporal, emotional - where characters navigate between past and present, belonging and displacement, home and elsewhere.
The Work
- Three published short stories examining themes of cultural memory, geographic displacement, and intergenerational connection
- Narrative experimentation with structure, voice, and time to mirror characters' psychological states
- Research-informed world-building that grounds imaginative work in historical and cultural specificity
- Ongoing creative practice that informs all my cultural production work
The Impact
The craft skills I develop through fiction (structure, pacing, voice, subtext) directly inform how I approach heritage interpretation, content strategy, and audience engagement.
What I learned: Fiction teaches you how narratives work, not just intellectually, but viscerally. Plus, it’s really fun to make.