Superblue

Scaling an Unproven Art Economy

At the height of the COVID-19 pandemic—in an ambitious attempt to redefine the art economy—we built Superblue from the ground up.

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Services

GLOBAL BRAND LAUNCH •

ON-SALE & OPENING CAMPAIGN •

TICKETING & PRICING MODEL •

GLOBAL BRAND LAUNCH • ON-SALE & OPENING CAMPAIGN • TICKETING & PRICING MODEL •

The Concept

To prove that large-scale immersive art could be financially sustainable—not through collectors or donors, but through ticketed revenue.

It was a bold experiment backed by Emerson Collective (Laurene Powell-Jobs) and positioned as a separate entity from Pace Gallery.

That Promised

Artists would be paid upfront to create large-scale installations.
Instead of relying on collectors, they’d earn a cut of ticket sales.
The model would be scalable, expanding to multiple cities.

But big ideas don’t succeed without infrastructure.

I was part of the small team responsible for turning that vision into a functioning business model.

The Challenge

Superblue launched with millions in investment, global media attention, and no operational precedent. We set out to create a ticketing and revenue model that made immersive art viable with a global brand launch and on-sale campaign that drove impact and revenue.

Blue chip galleries didn’t have a roadmap to price, forecast, and market something that had never existed at this scale. The live entertainment & experience economy didn’t know how to balance artistic integrity with financial sustainability.

The Solution

With a small but relentless core team, we tackled the challenge of turning an ambitious concept into a scalable, revenue-generating operation. While leadership set the vision, it was on us to ensure that ticketing, pricing, marketing, and visitor operations worked together in real-time—without breaking under pressure. Combining strategic vision with pragmatic implementation, I created sustainable, scalable, and impactful frameworks.

The Work

Built the ticketing & pricing model → Structured tiered and timed ticketing to optimize revenue and visitor flow.

Designed revenue forecasts & demand models → Created financial projections to guide decision-making in an untested market.
Drove paid media strategy & built marketing operations infrastructure → Ensured impactful brand launch, sustained demand, and long-term audience engagement.
Led all marketing operations → Drove paid media strategy, owned email marketing, oversaw website launch, co-led audience development, and developed marketing & ticketing reporting systems.
Created standardized reporting & operational structures → Ensured long-term financial and operational sustainability for Miami’s EAC.
Served as the key problem solver for ticketing & visitor operations → Because when something broke, I had to fix it—fast.

From brand identity to omni-channel advertising campaign to user-generated content strategy to hack audience development—brick-by-brick we transformed an idea into something tangible.

Much has changed, but the original tiering & pricing structure is still intact.

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Selected Press

"Superblue feels right for this moment. It heralds the arrival of the post-pandemic era—a time in which we could all use a salve for the past year of disconnection."—Ryan Waddoups, Surface Magazine

"Superblue is at the forefront of how we experience immersive art. The artists inaugurating it offer a glimpse into a new world and a completely new experience."—Mollie Dent-Brocklehurst, The Art Newspaper

"At Superblue, the barrier between the viewer and the art work has evaporated."—Arthur Lubow, the New York Times

At the height of the COVID-19 pandemic—in an ambitious attempt to redefine the art economy—we built Superblue from the ground up.

To prove that large-scale immersive art could be financially sustainable—not through collectors or donors, but through ticketed revenue.

It was a bold experiment backed by Emerson Collective (Laurene Powell-Jobs) and positioned as a separate entity from Pace Gallery.

Artists would be paid upfront to create large-scale installations.

Instead of relying on collectors, they’d earn a cut of ticket sales.

The model would be scalable, expanding to multiple cities.

But big ideas don’t succeed without infrastructure.

I was part of the small team responsible for turning that vision into a functioning business model.

Superblue launched with millions in investment, global media attention, and no operational precedent. We set out to create a ticketing and revenue model that made immersive art viable with a global brand launch and on-sale campaign that drove impact and revenue.

Blue chip galleries didn’t have a roadmap to price, forecast, and market something that had never existed at this scale. The live entertainment & experience economy didn’t know how to balance artistic integrity with financial sustainability.

Built the ticketing & pricing model → Structured tiered and timed ticketing to optimize revenue and visitor flow.

Designed revenue forecasts & demand models → Created financial projections to guide decision-making in an untested market.

Drove paid media strategy & built marketing operations infrastructure → Ensured impactful brand launch, sustained demand, and long-term audience engagement.

Led all marketing operations → Drove paid media strategy, owned email marketing, oversaw website launch, co-led audience development, and developed marketing & ticketing reporting systems.

Created standardized reporting & operational structures → Ensured long-term financial and operational sustainability for Miami’s EAC.

Served as the key problem solver for ticketing & visitor operations → Because when something broke, I had to fix it—fast.

From brand identity to omni-channel advertising campaign to user-generated content strategy to hack audience development—brick-by-brick we transformed an idea into something tangible.

Much has changed, but the original tiering & pricing structure is still intact.

"Superblue feels right for this moment. It heralds the arrival of the post-pandemic era—a time in which we could all use a salve for the past year of disconnection."—Ryan Waddoups, Surface Magazine

"Superblue feels right for this moment. It heralds the arrival of the post-pandemic era—a time in which we could all use a salve for the past year of disconnection."—Ryan Waddoups, Surface Magazine

"Superblue is at the forefront of how we experience immersive art. The artists inaugurating it offer a glimpse into a new world and a completely new experience."—Mollie Dent-Brocklehurst, The Art Newspaper

"Superblue is at the forefront of how we experience immersive art. The artists inaugurating it offer a glimpse into a new world and a completely new experience."—Mollie Dent-Brocklehurst, The Art Newspaper

"At Superblue, the barrier between the viewer and the art work has evaporated."—Arthur Lubow, the New York Times

"At Superblue, the barrier between the viewer and the art work has evaporated."—Arthur Lubow, the New York Times

Let’s work together.