After starting my career in Wellington, a new job has generally meant a new continent. From Sydney to Singapore, Portland, Amsterdam, Auckland, and now Los Angeles.
My first job had me making TV spots and going-away cards. My second position was pulling pints in a Covent Garden pub with a VHS tape behind the bar, targeting local creative directors with my quaint New Zealand commercials. This remains my only job in England.
Then Sydney for four years, before moving to Singapore and learning print craft; there wasn't much else going on save for one big Mercedes Benz film. After five rewarding years, I caught a break and found myself at Wieden+Kennedy in Portland.
My first two major Nike ideas explored alternative media; a live-to-air training campaign - 120 bespoke ads - for Latin America then the first content campaign to continue a narrative online; whatever.com. Next came the Play campaign - the birth of the 'city as playground' ruse - and filmmaking craft at genius level through Frank Budgen.
Finally at W+K, a retro funk basketball campaign; from a reimagined documentary of a 70's street legend to naming and designing our own make-believe ABA team, The Roswell Rayguns, later to become an actual Nike SB line.
My next stop, for nearly a decade, was at 180amsterdam co-running the creative department - dubbed by someone nice "The Kings of Content" - and my most satisfying. Our Impossible is Nothing moment; third most awarded agency at Cannes in just our second year. The Backpacker Agency became a boutique.
Basketball has been my muse. It started when I was seven years old and 10,000 missed layups later, I'm still hooked. One of my more meaningful moments was making The Boroughs campaign back in New Zealand; a good chunk of the ad budget went on building five high-tech street courts. I also got to work with the actual street legend, Julius 'Dr J' Erving.
Prior to joining the RGA Hustle team, I took a sabbatical to write and illustrate a children's book, as yet unpublished, about endangered animals and the women rangers of Africa, titled 'Ranger Wilma.' I'm working on a film tie in, of course.
My work has had a fair bit of award recognition. Nike Tag still gets some good press (Adweek recently rated it one of the best 24 ads of the last 15 years) and most of what you see on the portfolio page has been recognized in the two shows we really care about, Cannes Lions and D&AD.