Catapult Design are an Australian trade distributor, manufacturer and retailer of furniture, lighting and accessories, focusing on the architecture and design markets (but with retail also available.)

Catapult has been around since mid-2013, and I was informally involved for the first six months before joining as a contractor, helping with their website population and some marketing and communication, from February 2014. In July 2014 I gained the title Director of Fabulousness, and now the website is generally mine to manage, along with all public-facing communication, marketing and social activity.

In practice, this means I update the website (and work on new developments, such as the creation of an e-commerce addition that is in the works); create and distribute all media (including this great Broadsheet Sydney article on the two founders); create and distribute their monthly newsletter; manage their marketing campaigns (which are small but will grow); and manage their social media (Facebook, Instagram, Twitter and LinkedIn.)

Socially, the initial focus was on building Facebook. With algorithm changes, the focus has been on developing Instagram over recent months (with an increase of around 60% in July 2015 alone.) Twitter and LinkedIn are less of a focus due to time constraints and the nature of those platforms being less immediately relevant to the Catapult brand.

Sherman Contemporary Art Foundation is a not-for-profit philanthropic enterprise giving a dedicated forum to contemporary art, particularly that emerging from the Asia-Pacific region. It was built on the 21 years of commercial activity of Sherman Galleries, and is run under the Artistic Direction of Dr Gene Sherman AM.

I began as Digital Media Consultant for SCAF in April 2015. This entails development and execution of a social strategy and some online PR in collaboration with other consultants and staff.

The social component is centred around Facebook, Instagram and Twitter, with again Facebook and Instagram being the primary vehicles due to the strong visual nature of the organisation (though Twitter does play a stronger role here.) Since beginning, my focus has been on creating greater consistency in presentation and delivery of social content, as well as tapping into the broader underlying themes of the organisation to drive the ongoing narrative. This will continue to develop and strengthen over time.

A personal highlight of my short time with SCAF was the #InsideTheDiaries series, delivered daily on Instagram with weekly updates to an album on Facebook. This was a post of an internal, unseen part of Chinese Bible, on display at SCAF, published 7 days a week at 11:30am to uncover secrets and the story not only of the work itself, but also the story that the work was trying to convey. While the engagement at the time was up and down over the almost three months of posts, it has shown to continue to engage and will continue to be a resource in the future. While Chinese Bible was referred to as a 'performance installation', I thought of this as my own little endurance performance contributing to the conversation.

This is an interesting one. Initially, I got involved to help out some friends. Now, I'm a partner in the company.

The Scallywag Society started as (and still is) a bit of a hobby for a few of us. Initially it was making some cushions with Alexander Henry print fronts and recycled City of Sydney street banner backs. Now, we're creating and developing our own products. All are for sale online through the TSS website, with pop ups coming and going (currently, we're at The Makery in Darlinghurst.) In 2015 we produced a number of products for the Sydney Film Festival, including these Margaret & David cushions, which proved particularly popular.

My role here is quite varied. For the purposes of this website, however, I manage the website (which at this stage is a little rudimentary, with copy and image improvements to come, followed by further website development as the business grows), manage the newsletter, manage PR and communications, and manage the social media (which is focused around Instagram, with some Facebook and, to a much lesser extent, Twitter. The Twitter account is really, at this stage, to secure the name on the platform.)

I only really came on board officially in April with TSS. I launched the Instagram properly in May, but as always Facebook will stagnate unless you throw some money at it or get some big links back to it. At the moment, it's circling a little bit as we wait for the first original products to land. This should be happening shortly!

From January 2011 to July 2014 I worked as the Digital Producer at Object: Australian Design Centre. In this role, I produced three issues of Object magazine as individual apps for iPad (with three issues also available for web and two for Android tablet.)

For these, I acted in the capacity equivalent to the editor of a print magazine (devising content in collaboration with other staff, commissioning, editing and creating content), but the digital platform allowed this to happen with words, images, video and interaction. For the latter particularly I collaborated with Canvas Group on the design and development of the issues.

The three issues I worked on saw a progression. I was interested in exploring the possibilities of a magazine when you aren't limited by turning pages in a linear order. Issue 61, my first issue, followed this paradigm more closely as the framework had been fairly well developed and I took over later in the game. 

With Issue 62 (the functionality of which isn't great on tablets due to technology changes and a lack of funds to update to suit) we implemented a narrative guide at the end of each article, offering alternate ways of navigating by themes. You could elect to read it chronologically, page after page, but if you were reading about, say, an architecture firm, you could also choose to continue with architects, or other stories we thought might be of interest.

Issue 63 took this further, with a breathing contents page that grouped like articles together. Cells moved and were attracted by touch. Then, within the app, there were other mini sections, each with compartments and chapters. Notably, the profile on Janet Laurence consisted of a major commissioned video, an animated timeline of her work over her active years, an in-depth gallery of images covering her history (complete with soundtrack) and a number of audio pieces complete with transcription. The Fab Lab article was in reality over half a dozen articles packaged together with sub-articles and interesting extra information. It was a seemingly simple package with remarkably complex workings.

We also technologically pushed the magazine. We had all this technology (literally) at our fingertips, and wanted to use it. One of my favourite moments after the launch of issue 63 was showing the Swept Away article (on an exhibition featuring ephemeral media such as dust and ash) to other developers. There is initially an overlay of 'dust' on the screen, and you have to actually blow it away to read the story. The developer gasped and accused me of black magic. You should totally check it out.

These magazine garnered plenty of awards, but the real behemoth in this respect was issue 63. It nabbed Official Honoree status with the Webby Awards, a Pixel nomination and People's Champ crown, FWA Mobile of the Day honours, an AIMIA nomination, Interactive category winner at the Create Awards, and a MAPDA win.

This was the last issue of the magazine due to issues with the publisher. I won't go into it. But the awards were particularly sweet in light of it.