I studied engineering.
I was designing the
whole time.

I spent five years at the University of Benin learning how loads travel, how structures fail, and why redundancy is not optional. I was designing the entire time — from 2017, for the Christian Union, then for anyone who asked.

The engineering did not go to waste. It is the reason I build content as systems rather than as files: parameters instead of artwork, one playback spine instead of three, a fallback already loaded on the second layer. Everything I make is designed to be changed at the last minute, because it always is.

Since then the work has scaled outward in rings. First Edo State — investment promotion and Alaghodaro, the state’s five-point agenda, the International Film Festival, Edo @ 30. Then national stages: NOG Energy Week, UBA, Africa Credit Expo, a Tecno product launch, Davido’s Bear With Us Festival. Now international — a heritage travel platform built for the African diaspora.

The constant is the room. I am usually in it when the work plays, which changes how I design before I open the file. A frame that reads beautifully on a laptop and fails at forty metres is not a good frame. Knowing the difference is most of the job.

Teaching has run alongside all of it since 2017 — media teams, church volunteers, and most recently a twelve-week visuals curriculum built to outlast the person who wrote it. I do not treat it as a sideline. Explaining a decision is how you find out whether it was a decision or a habit.