I was born in Blackpool, a working class seaside town in the north of England where I spent most of my time in the arcades or drawing. Obsessed with music, I drew my favourite album covers and created weird collages of music, pop stars and fashion. Excelling in art, and not much else, I scraped into art college to get my degree in graphic design. 

While there, I interned at the famed Designers Republic in Sheffield and my dream of designing record covers, and actually making money at it, seemed like it could be a reality. I used the work I did there to secure a job with a small agency in Manchester—there was a recording studio in the basement, decks at the back of the office and a PR company next door that gave me all the free records I could carry to Vinyl Exchange to make extra cash (I was working for expenses at the time). I met pop stars, went to gigs, made friends and designed the odd cover here and there. 

When the boss got bored of the company (and paying me), I jumped ship with a couple of clients and started up on my own with one of my best friends. About a year into my new venture, I met an English girl who lived in LA. Love struck and too young to know any better, I handed over the keys to the business, jumped on a plane and moved to LA. 

The gamble worked. I met some amazing people, did some small projects that got noticed and had some amazing luck. 

Then... Hollywood records sent me to a gig on Sunset to see a disney star called Demi Lovato; she blew me away. I designed her first record that debuted at number one on the Billboard Charts, no one was ready.... For the deluxe of the album I was asked to direct the shoot. Very green, I accepted. It went pretty well with only a few breaks for panic attacks. I pretty much knew, there and then, that this was my lane. 

Next projects included direction and design for Carly Rea Jepson’s KISS album, featuring the single Call Me Maybe at a very fancy mansion in the Hollywood hills, and Demi's next album 'Don't forget'. Katy Perry's Teenage Dream had been dominating the charts for two years, and when I got word from Nicole Franz at Capitol that my work was in front of her for a secret project that they were cooking up, I basically lost my mind. 

After a very fraught couple of days, I finally secured the gig that would become Teenage Dream The Complete Confection, a reworked deluxe edition with new songs and a lenticular cover that flashed between the original Will Cotton painting and my new Artwork. This project turned into a long term relationship with Katy and Capitol, and I still look on it as my big break. Capitol called on me again to design the cover for Katy’s 10 year celebration 'KatyCatalog'.

Since then I've worked with a diverse selection of incredible artists, but another pivotal moment in my career came when Val Pensa from RCA reached out for me to Creative Direct and Design the long awaited new album from Hilary Duff. This moment was important for a few reasons: firstly meeting Val, and also meeting Brett Alan Nelson who Val had recommended as the stylist on the project. The Hilary Duff project was incredible and Val then hired me to work with GRL, Betty Who and Frankie to name a few. 

Mary J. Blige for Capitol followed and then, after much pleading came Britney for RCA. I will never forget shooting in the middle of the desert, at a secretly constructed village with David Lachapelle asking ME if I had all the shots I needed. We sat in air conditioned two person cabanas, and ate ice pops to keep us cool while watching the master at work. There were cars on fire, a giant ear and a stage made of broken mirrors. It was incredible. 

Then came PTX—working with the band and also on solo projects, TLC ( sat in Soho House on Sunset sharing airpods with T-Boz listening to the album was surreal ), Noah Cyrus, Meghan Trainor, CAM, and then… Doja. 

Brett, who I’d worked with on several projects since Hilary, was working as Creative Director and Stylist, and with Val’s blessing brought me in to design Planet Her. 

Three album campaigns in, amazing creative freedom and collaboration for a once in a generation artist. I’m a true fan and hopefully it shows in the work. Brett also brought me in on Tate McRae’s So Close To What era which was also a tremendous experience.

Last but not least Zayn, after working on a couple of singles I got the call to Conceptualize, Creative Direct and design his first solo tour. The feedback from the fans was incredible, and described by the man himself as his favourite visuals ever.

This is my OKCO story so far.....