Clear strategy.
A connected way forward.

The problem I worked on

Immersive art can be visually compelling and difficult to explain. Awareness, comprehension, and the experience of being a guest are connected, but they are not the same problem.

What I did

• Read guest feedback for recurring themes, using the difference between positive and negative experiences to frame the audience’s unanswered questions.
• Combined audience analysis, guest research, and media-mix insight to inform messaging and creative briefs.
• Reconsidered local audience definitions through drive time rather than a simple radius, accounting for how Houston’s surrounding communities actually travel.
• Built campaign planning and Asana workflows across six functions, making ownership, timing, and dependencies more visible.

What changed

The research informed clearer messaging and recommendations for helping guests navigate the experience, including input into wayfinding development. The workflow system supported coordination across marketing, creative, guest experience, retail, food and beverage, and operations.

My scope

I led Houston marketing and worked across teams with different responsibilities. For paid media, I owned strategy, budgets, and performance while directing the specialists and agency executing campaigns.

The audience question

Flamenco was familiar to some people and entirely new to others. I needed to make the art form understandable and the decision to attend feel easy, while considering how Houston audiences chose an evening out.

How that shaped the experience

• Choose the place deliberately. I used Ovations rather than assuming the audience would want to drive downtown.
• Fit the format to the room. I offered two shows in a smaller venue rather than treating one larger performance as the only model.
• Make the evening welcoming. People could dress up or come in jeans. Drinks and an approachable atmosphere helped frame the event as an evening out.
• Lead with the art form. Education and context helped people understand what they would be experiencing.
• Let the experience travel. Photography and online sharing extended discovery beyond the people already in the room.

Make promotion part of the economics

Performers received a flat fee plus commission on tickets sold through their individual codes. That gave them a direct share in the upside of bringing their audiences, with attribution built into ticket sales.

Compensation was doing two jobs: paying for the performance and encouraging audience development. The marketing model and the production model supported each other.

My scope & outcome

I founded and ran the collective, connecting performers, programming, marketing, and event operations. Shows sold out regularly, and the work earned Univision television and radio coverage.

The challenge

Custom slipcovers were a high-consideration purchase in a category people did not necessarily know to search for. The work needed to create demand and make the process feel understandable and trustworthy.

What I owned

• Brand positioning, social-led marketing, product presentation, and sales.
• Direct customer relationships and the questions and expectations that shaped each order.
• Coordination with the artisans producing made-to-order slipcovers and bedding.
• The connection between how the product was marketed and how the customer experienced the purchase.

What the work produced

The business grew from roughly $80K to $500K in revenue in about eight months. Earned attention included two Country Living features, a published book feature, and national television exposure for a product line developed with Society Social, without a PR budget.

What it demonstrates

Founder-level accountability: positioning, demand, customer trust, sales, and fulfillment had to work together. The customer conversations were a source of strategy, rather than a separate service function.