There's something uniquely satisfying about building worlds that players actually inhabit, where every surface, every texture, every detail either pulls them deeper into the experience or breaks the spell. Getting that right is what drives me.

As Lead Material and 3D Artist, I've had the privilege of working across some genuinely exciting titles, from the sweeping fantasy of Fable and the stylised chaos of Shadow Warrior 3, to the dark, atmospheric worlds of Darkwood and Ruiner. Each project brings its own visual language and its own set of challenges, and I've loved every one of them.

On the CD Projekt Red side of things, contributing to Thronebreaker, Gwent, and the broader Witcher universe was a real highlight. Those are franchises with incredibly passionate fanbases, and the pressure to get every asset feeling true to that world keeps your standards high in the best possible way.

Whether it's the gothic horror of Evil West, the retro intensity of Project Warlock and Butcher, or a big-budget AAA production, my approach is the same: understand the world the team is trying to build, and make sure every material and every model earns its place in it.

It's work I care about deeply, and the titles speak for themselves.