I know what it's like to be responsible for making things work.

I've spent more than 15 years working across the nonprofit, performing arts, business, and public sectors, often in roles where I had to figure things out as I went.

I've built systems where there weren't any. Led teams through change. Developed new programs. Restructured organizations. Built partnerships. Managed budgets. Navigated competing priorities. And stepped into complicated situations where the path forward wasn't immediately obvious.

I've also been the person responsible for making sure the plan actually happened.
That's a big part of what I bring to my consulting work today.

I'm not interested in giving you a beautiful strategy and leaving you to implement it alone. I want to understand what's really happening, help you determine what matters most, and work alongside you to turn good ideas into meaningful progress.

I've been where you are.

I've been an Executive Director...

I know what it's like...

That's why I consult differently.
I've managed staff, budgets, boards, facilities, fundraising, capital projects, partnerships, programs, crises, and the thousand small decisions that somehow become your problem when you're the person in charge (and wearing all the hats).

I know what it's like to care deeply about an organization's mission while simultaneously wondering how you're going to make everything work.

That experience fundamentally shapes how I consult.

I don't come in with a formula for how your organization should work. I come in curious about how it actually works, what you're trying to accomplish, what's getting in the way, and what might make things easier.

My path here wasn't exactly linear.

I started as a performer, singing opera and classical music all over Los Angeles. I was entrepreneurial, producing my own concerts, recordings, as well as singing with professional opera companies. So I know what the constant artist hustle is like.

I began my administrative career in Los Angeles when I was recruited by a nonprofit president to build the organization's Human Resources department.

From there, I joined Cadenza Artists, a music agency start-up, working with a diverse roster of performing artists and coordinating national and international tours. Over the course of my time there, I moved into increasingly senior leadership roles, ultimately serving as Vice President of Operations on the executive team. This is where I cut my teeth in the music industry and performing arts market.

That experience taught me something I still rely on today: artists and creative organizations need both vision and structure to express their genius. Great ideas and talent don't go very far without the systems, relationships, and people needed to support them.

Later, I pitched the CEO of Unity World Headquarters on an idea for a performing arts and events center and was hired, spending five years leading outreach, partnerships, and events.

After moving to Vancouver, Washington in 2022, I launched my consulting practice, working with nonprofit and arts organizations on strategy, operations, leadership, and growth. I led the Oregon Music Census for MusicPortland, partnering with Business Oregon to gather data for the first-ever economic impact study on live music statewide. At that point, I got deeply involved in music advocacy work.

Most recently, I served as Executive Director of Alberta Abbey, a 350-seat historic performing arts venue in Portland. 

Along the way, I've worked with nonprofits, businesses, arts service organizations, higher education, government agencies, artists, and community partners. That range is intentional.

I understand the creative side of the work. I understand the organizational side. And I understand what it takes to connect the two.

What I believe

Creative work is real work.

Arts and Culture aren't a "nice to have," it's civic infrastructure that contributes to the vitality, identity, and economic health of our communities. 

Leaders shouldn't have to carry everything alone.
I've seen entire creative communities and nonprofits dependent on and propped up by a single person. That's not sustainable long-term.

Creative organizations need both vision and infrastructure.
The mission matters. So do the systems, relationships, resources, and decisions that allow the mission to thrive.

Fundraising isn't the only solution.
Hiring a development director and more fundraising will backfire if you don't have certain things in place.

A little more about me

I have a Bachelor of Music degree from the University of Southern California's Thornton School of Music and a Master of Arts degree in Psychology from the University of Santa Monica. My master's thesis focused on helping performers overcome stage fright and develop skills for peak performance, which feels surprisingly relevant to much of the consulting work I do today.

I'm a lifelong learner and am continually adding to my toolkit through professional development in areas including sales, copy-writing, public speaking, economic development, and organizational management.

I'm also a passionate advocate for the arts and creative economy. I have several volunteer leadership roles: I am Co-Chair of MusicOregon's Music Advocacy Council and the SW Washington rep for the WA Nightlife and Music Association. I care about artist's mental and physical well-being, supporting greater access to professional care and working to mitigate the systemic issues that disproportionately impact creatives health and livelihoods.

And yes, I still have my own creative practice. When I'm not working, you'll usually find me reading novels, enjoying live music, writing, or hiking to waterfalls with my husband.

Let's Talk

If you're facing a challenge, considering a new direction, or simply need someone experienced to think alongside you, I'd be glad to hear what's going on.