Tell us a little about yourself and your career.
I was born in Queens and grew up in Northern New Jersey. When I was five—I think I had just seen The Little Mermaid—I declared that I wanted to be a Disney animator when I grew up. I went to Pratt Institute and majored in illustration, as that seemed like a more viable career option at the time. Pratt focused more on editorial illustration. Everyone else’s goal seemed to be doing spot illustrations for The New Yorker.
In hindsight, there was a lot of tragedy during these years. My dad passed away, as well as a close family friend. I didn’t have much of a support system at the time, and because of that I had a really hard time in school. The only classes I really enjoyed were children’s book illustration and logo design. It wasn’t until later that I would consider animation.
I graduated in 2008, right into the recession. It took another four years of working retail and moving to the West Coast before I got my first break. A friend recommended me for a BG test for a new studio, Fox ADHD. I was initially hired for two weeks … I ended up working there for two years, and I learned a lot about how to work in the industry. [From there] I was able to move onto BoJack Horseman and later Steven Universe. Once I had a few shows under my belt, it became easier to find new opportunities
What challenges have you faced in navigating a career in animation?
Though I definitely had a lot of help, getting my foot in the door was the biggest challenge. I don’t have a great social media presence, so expanding my network past my group of friends and acquaintances took a while. I also had a really hard time learning to advocate for myself. It took me years to be able to say “no” and stand up for myself. I still have issues with my own self-confidence. I’m still surprised when people are interested and listen to my ideas.
Who are your inspirations in the field of animation?
I’ve really been enjoying going back and re-watching animation that I loved when I was younger. It’s interesting to dissect with a trained eye what struck me and what I disliked as a child. Watching how animation dealt with complicated shots, when CGI wasn’t as accessible, has been especially educational. Recently, I re-watched Batman: The Animated Series, Ranma ½, and Evangelion. l really love how off-model these shows could get, and still be visually cohesive. I love seeing the artist’s hand. If I were to list everyone who inspires me, we’d be here all day. Elizabeth Ito, Emily Walus, Lisa Hanawalt, and Rebecca Sugar are at the top of my list.
What do you hope to accomplish as an artist in the animation industry?
I want to help foster a welcoming community. I felt like such an imposter for the first few years working in the industry. I want to help people feel like they belong.
On a personal front, I think I would like to expand out from background design. I like bouncing around between jobs, because I get bored drawing in the same style for too long. On the flip side, I would also like to try working in feature. I’d like to find a way to incorporate my love of crafts and fiber arts into my professional work as well.
What does being a shop steward in the union mean to you?
To me it means being a representative for the union to help other artists navigate the industry and the Guild. The union has a lot of useful information, but it can be difficult to find if you don’t know where to look or who to ask. I hope that I can be a resource, at the very least, to point people in the right direction to find what they need.
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