CV
CAREER HIGHLIGHTS
More than 25 years of continuous exhibition, fabrication, art-handling, and creative-production experience, beginning in 1999 and continuing to the present.
Handpicked at MOCA Los Angeles for a two-year Assistant Registrar / Art Handler inventory initiative documenting and reconciling more than 8,000 collection objects in TMS.
Creative and hands-on contributor to campaigns and productions for Bulgari, Brioni, Kenzo, Fisher-Price, Absolut Vodka, David LaChapelle, Inez & Vinoodh, Room 205, and other nationally and internationally visible clients.
Built and finished a two-story Gundam Wing Comic-Con environment comprising 200+ large interlocking scenic pieces and approximately 30 individually painted 3D-printed elements.
Experienced museum leader and preparator across MOCA, Pasadena Museum of California Art, Fowler Museum at UCLA, San Diego Museum of Art, and Atelier 4.
Adaptive ceramics educator for adults with visual impairments and developmental disabilities, combining technical instruction with independence, confidence, communication, and creative exploration.
CORE CAPABILITIES
Creative Direction & Design: Production design; art direction; concept development; visual storytelling; set design; environmental storytelling; spatial design; prop design; costume design; wardrobe; color, silhouette, form, scale, composition, and material research.
Fabrication & Scenic: Scenic carpentry; woodworking; prop fabrication; display construction; model and scale-set fabrication; scenic painting; faux finishes; aging; distressing; sign painting; plaster; foam; clay; plastics; mixed media; moldmaking without silicone; tile setting; sewing; draping; textile construction; sculpture; surface treatments.
Museum & Collections: Exhibition installation and deinstallation; gallery preparation; art handling; mountmaking; packing and crating; condition reporting; collection inventory; object-location tracking; database reconciliation; registrar support; artist liaison; crate handling; conservation-minded installation; storage planning.
Leadership & Operations: Crew leadership; project planning; schedules; budgets; estimating; sourcing; purchasing; vendor coordination; transportation; load-in/load-out; installation; strike; quality control; client communication; cross-functional collaboration; mentoring; curriculum development.
Equipment & Digital: Forklift; scissor lift; hand and power tools; kiln operation and programming; shop equipment; TMS (The Museum System); proprietary art-storage and inventory systems; Adobe Photoshop; minimal SketchUp. Does not claim CAD or advanced digital-modeling proficiency.
PROFESSIONAL EXPERIENCE
Owner / Production Designer / Art Director / Scenic Fabricator / Costume Designer / Artist | Studio Rubio | Los Angeles & New York | 2011–Present
Lead multidisciplinary projects for film, advertising, editorial, music, experiential production, museums, private clients, and independent art practice from concept through final installation.
Design, source, fabricate, dress, install, troubleshoot, strike, and store custom sets, props, furniture, display elements, costumes, sculptural objects, ceramics, and mixed-media environments.
Translate sketches, photographs, scale references, creative direction, and conceptual briefs into buildable systems; select methods and materials according to visual intent, budget, schedule, durability, transport, and site conditions.
Fabricate in wood, plaster, foam, clay, textiles, plastics, metal components, paint, found materials, and mixed media; create scenic finishes, faux surfaces, painted graphics, costumes, and specialty details.
Lead small crews and collaborate with directors, photographers, production designers, projection designers, museums, artists, vendors, prop houses, rental companies, and independent fabricators.
Estimate materials and labor; manage purchasing, scheduling, transport, installation logistics, quality control, on-set changes, strike, storage, and reuse of scenic assets.
Maintain an independent ceramics practice encompassing functional and sculptural work, glaze development, surface decoration, kiln operation, teaching, and commissions.
Production Designer / Art Director / Set Designer / Set Decorator / Scenic & Prop Fabricator | Freelance Film, Commercial, Music, Editorial & Experiential Production | Los Angeles & New York | 2008–2025
Created distinctive visual environments for narrative film, luxury advertising, branded content, editorial photography, music videos, live-performance sessions, and experiential installations.
Developed concepts and visual research; sourced furniture, décor, textiles, antiques, hardware, and specialty materials; built and modified sets and props; painted, dressed, installed, and adjusted work on location.
Worked comfortably across creative leadership and direct fabrication, supporting the production designer’s or director’s vision while identifying efficient solutions under compressed schedules.
Collaborated with internationally recognized photographers and artists including Inez & Vinoodh and David LaChapelle, as well as creative agencies, brand teams, performers, stylists, and production crews.
Selected clients and projects include Bulgari “Mon Jasmin Noir,” Brioni Spring 2012, Kenzo “Kenzotopia,” Fisher-Price “Toy Museum,” Absolut Vodka, Room 205, “Kind of Tokyo,” “Pathlights,” “Dream Like,” and the Gundam Wing Comic-Con activation.
Ceramics Instructor, Creative Arts Program | Therapeutic Living Center for the Blind (TLC) | Reseda, CA | May 2025–July 2026
Taught ceramics to adults with visual impairments and developmental disabilities, adapting tools, demonstrations, pacing, language, and physical guidance to individual access needs and learning styles.
Designed and delivered instruction in handbuilding, wheel throwing, centering, trimming, sculpture, wax resist, surface decoration, glazing, equipment care, and studio safety.
Created lessons that connected material physics, process, experimentation, and personal expression so students understood not only what to do, but why each technique worked.
Collaborated with program leadership, support staff, instructors, and therapists to encourage independence, confidence, communication, fine-motor development, creative risk-taking, and meaningful participation.
Maintained a safe, organized, inclusive studio while managing materials, clay reclamation, tools, equipment, works in progress, firings, and individualized project support.
Art Handler / Inventory Supervisor | Atelier 4 | Los Angeles, CA | 2023–2025
Supervised art-handling and inventory workflows for high-value collections, coordinating object movement, storage, location accuracy, documentation, warehouse activity, and safe handling practices.
Used Atelier 4’s proprietary art-storage database and integrated object-tracking/reporting systems, operating within strict access controls and GRASP-approved risk-mitigation procedures trusted by insurance underwriters.
Supported condition documentation, packing, crating, storage planning, retrievals, releases, and movement coordination while maintaining precise records and organized work areas.
Coordinated teams and schedules, balanced multiple priorities, and communicated clearly around sensitive objects, deadlines, security, and client expectations.
Gallery Preparator / Exhibitions Technician / Assistant Registrar / Art Handler | Museum of Contemporary Art (MOCA) | Los Angeles, CA | 2008–2011
Installed, maintained, deinstalled, moved, packed, and stored modern and contemporary artworks and exhibition components in collaboration with registrars, curators, artists, designers, conservators, and technical teams.
Was handpicked for a two-year, grant-supported collection inventory and reconciliation initiative covering more than 8,000 objects; combined Assistant Registrar responsibilities with direct art handling and project coordination.
Verified object identities and locations; entered and corrected TMS records; supported condition reporting, photography, conservation review, crate handling, storage movement, scheduling, documentation, and team coordination.
Helped identify and resolve discrepancies between physical objects, labels, crates, locations, and database records while maintaining consistent standards and chain-of-custody awareness.
Supported technically and materially complex installations including Ed Ruscha’s “Chocolate Room,” Chris Burden’s “Wheel,” Pae White’s “Pickle” through close artist collaboration, and a Dan Graham pavilion.
Preparator | Fowler Museum at UCLA | Los Angeles, CA | 2009–2011
Installed and deinstalled exhibitions; handled collection and loan objects; fabricated mounts and display components; supported packing, storage, gallery preparation, lighting coordination, and exhibition maintenance.
Applied museum standards to culturally significant and varied materials, balancing visual presentation, object safety, access, and schedule.
Lead Preparator | Pasadena Museum of California Art | Pasadena, CA | 2005–2011
Led exhibition preparation and installation from planning through strike, coordinating crews, schedules, artist needs, object handling, gallery readiness, and custom fabrication.
Built pedestals, platforms, mounts, partitions, display components, crates, and installation solutions; performed painting, patching, carpentry, layout, packing, and condition-conscious handling.
Worked directly with artists, curators, registrars, designers, and lenders to interpret installation requirements and solve problems in real time while protecting the work and the exhibition schedule.
Maintained safe, organized galleries and work areas and supported collection stewardship, incoming and outgoing artwork, and public-opening deadlines.
Carpenter’s Apprentice / Preparator / Registrar’s Assistant | San Diego Museum of Art | San Diego, CA | 1998–2002
Entered the museum field at age 18 and advanced from basic shop support to a carpenter’s apprenticeship within weeks by demonstrating curiosity, reliability, and a willingness to learn.
Built foundational expertise in exhibition carpentry, gallery preparation, object handling, installation, packing, crating, documentation, collection movement, storage, and registrar support.
Learned to read a project’s physical and aesthetic requirements, ask precise questions, use shop tools safely, and develop durable fabrication solutions appropriate to museums and public-facing exhibitions.
SELECTED PRODUCTION CREDITS
Commercial Campaigns & Branded Content
2026 — Gundam Wing Comic-Con Activation — Scenic Fabricator / Painter; fabricated, painted, distressed, assembled, and installed a two-story environment with 200+ interlocking scenic elements and approximately 30 individually finished 3D-printed components.
2020 — Fisher-Price “Toy Museum” — Art Director; designed and fabricated scale environments and custom props for an immersive branded installation.
2020 — Absolut Vodka Pride Project — Set Designer / Sign Painter; David LaChapelle collaboration; project received D&AD recognition.
2019 — Kenzo “Kenzotopia,” Spring/Summer Campaign — Art Direction / Set Fabrication; creative direction by Humberto Leon and Carol Lim; directed and photographed by David LaChapelle.
2012 — Bulgari “Mon Jasmin Noir” — Art Director; luxury fragrance campaign created with Inez & Vinoodh.
2012 — Brioni Spring Campaign — Art Director.
Music Videos & Performance
2011 — “Brand New Day,” Trevor Hall — Production Designer / Art Director.
2011 — Room 205 sessions for Avi Buffalo, High Places, The Soft Moon, and Austra — Production Designer; created distinct performance environments for each artist.
2010 — “Take Everything,” Greg Laswell — Production Designer / Art Director.
2009 — “Crazy Possessive,” Kaci Battaglia — Production Designer / Art Director.
2008 — “Something Is Not Right With Me,” Cold War Kids — Production Designer / Art Director.
2008 — “Under the Pines,” Bodies of Water — Production Designer / Art Director.
Narrative Film
2009 — “Pathlights” — Production Designer.
2008 — “Phillip” — Production Designer.
2005 — “Dream Like” — Production Designer.
2004 — “Welcome to September” — Production Designer.
SELECTED FABRICATION & TECHNICAL PROJECTS
Gundam Wing Comic-Con Environment: Fabricated and finished a large two-story set composed of more than 200 interlocking scenic pieces; painted and distressed approximately 30 3D-printed details; worked within a rapid, high-pressure production schedule through assembly and installation.
Corvette Turntable: Contributed fabrication and technical execution for a large-scale vehicle presentation element requiring accuracy, finish quality, and reliable installation.
The Soft Moon Projection Surface: Created a dimensional scenic surface designed to receive projected imagery as part of a Room 205 performance environment.
Chrome Hearts Nine-Foot Lotus: Fabricated a monumental sculptural lotus combining structural problem solving, sculptural form, surface development, and installation planning.
Fisher-Price “Toy Museum”: Designed and fabricated miniature and scale-size sets, custom props, and visual details that translated a playful brand concept into a coherent physical world.
Custom Furniture & Domestic Objects: Designs and builds furniture and functional objects from the image first, selecting or inventing construction methods rather than allowing a familiar material to dictate the outcome.
SELECTED MUSEUM INSTALLATIONS & COLLECTIONS WORK
MOCA Collection Inventory — 8,000+ Objects: Two-year physical inventory, location verification, documentation, TMS reconciliation, condition reporting support, photography coordination, storage movement, and discrepancy resolution.
Ed Ruscha, “Chocolate Room”: Supported installation and care of a materially unusual, highly specific contemporary artwork requiring close adherence to installation intent.
Chris Burden, “Wheel”: Supported the preparation and installation of a complex sculptural work within museum safety, handling, and presentation requirements.
Pae White, “Pickle”: Worked one-on-one with the artist during installation, translating creative direction into precise physical execution.
Dan Graham Pavilion: Assisted with a large architectural artwork requiring coordinated handling, assembly, alignment, and site execution.
Cross-Institution Exhibition Work: Prepared and installed exhibitions at MOCA, Pasadena Museum of California Art, Fowler Museum at UCLA, and San Diego Museum of Art, spanning modern and contemporary art, culturally significant objects, loan exhibitions, and collection-based presentations.
CERAMICS, ART PRACTICE & EDUCATION
Ceramic artist and instructor with experience in wheel throwing, handbuilding, sculpture, Nerikomi, glaze chemistry, clay and glaze mixing, surface decoration, sgraffito, inlay, wax resist, kiln loading, firing schedules, kiln programming, reclamation, equipment care, and studio safety.
Teaches beginners through advanced students by connecting technique to the physical behavior of clay, tools, moisture, heat, form, and glaze rather than relying on rote steps.
Encourages students to use ceramics in unexpected ways, translate two-dimensional ideas into three-dimensional objects, invent processes, take thoughtful risks, and understand mistakes as part of material learning.
Experienced teaching both adults and children, including students with disabilities who benefit from adaptive tools, multisensory demonstrations, individualized pacing, and confidence-building support.
Maintains a multidisciplinary studio practice that moves between ceramics, sculpture, furniture, costume, scenic work, and independent artworks.
COSTUME, TEXTILES & CLOTHING
Costume design and fabrication grounded in character, silhouette, movement, historical reference, material behavior, color, and storytelling.
Skilled in sewing, draping, pattern adaptation, garment construction, costume distressing, textile manipulation, surface embellishment, wardrobe problem solving, and practical on-body fitting.
Designed and fabricated three costumes for the independent short musical/dance film “Naughty Bodies Be Good Vol. 1.”
Designed and fabricated a Dracula/Mina-inspired Halloween dress combining period influence, theatrical silhouette, and handmade construction.
Designed a custom wedding dress fabricated by Andrea Reynders; responsible for the design concept and visual direction.
Prior work as a clothing designer and seamstress informs costume construction, prop textiles, set dressing, soft goods, and cross-disciplinary fabrication.
ADDITIONAL PROFESSIONAL EXPERIENCE
Private Chef / Culinary Professional: Worked for chef Akasha Richmond and prepared food for high-profile clients including Cheech Marin and Barbra Streisand, as well as the Michael Jackson household. Brought the same discipline, presentation standards, adaptability, timing, and client care used in creative production.
CAPPA-Certified Doula: Registered doula with experience supporting 14 births; practiced calm communication, advocacy, observation, preparation, and responsive decision-making in emotionally and physically demanding settings.
Performer / Commercial Actress: Commercial acting and performance experience, including an award-recognized national campaign and Los Angeles billboard visibility; background also includes dance with Ryan Heffington, voice-over performance, musical theatre, and stage production.
EDUCATION, APPRENTICESHIP & TRAINING
San Diego School of Creative & Performing Arts — Theatre Arts & Stage Production, 1989–1999.
San Diego Museum of Art — Carpenter’s Apprenticeship in exhibition carpentry and museum preparation, 1998–2000.
CAPPA — Certified Doula training and professional birth-support practice.
Career-long, project-based technical development across carpentry, museums, registration, ceramics, scenic fabrication, props, costume construction, conservation-minded handling, and creative production.
TECHNICAL SKILLS ENCYCLOPEDIA
Museum Preparation: Art handling; installation; deinstallation; gallery preparation; pedestals; platforms; partitions; mountmaking; packing; crating; crate design; storage; object movement; condition reporting; documentation; collection inventories; location audits; TMS database; registrar support; artist collaboration.
Construction & Fabrication: Scenic carpentry; woodworking; furniture; props; scale models; custom displays; scenic structures; shop drawings and visual references; rigging support; load-in; installation; strike; hand and power tools.
Finishes & Sculpture: Scenic painting; faux finishes; aging; distressing; sign painting; plaster; foam; clay; mixed media; surface decoration; moldmaking without silicone; tile setting; sculptural form development.
Costume & Textiles: Costume design; sewing; draping; garment construction; pattern adaptation; historical textiles; wardrobe; fittings; distressing; soft goods; textile sourcing and manipulation.
Ceramics: Wheel throwing; handbuilding; trimming; Nerikomi; sculpture; glaze chemistry; glaze mixing; clay reclamation; sgraffito; inlay; wax resist; surface decoration; kiln loading; firing; programming; maintenance.
Production & Leadership: Concept development; visual research; budgeting; estimating; purchasing; sourcing; vendor coordination; team leadership; scheduling; logistics; transport; client relations; quality control; on-site troubleshooting.
Equipment & Software: Forklift; scissor lift; kiln and studio equipment; shop tools; TMS; proprietary art-storage databases; Adobe Photoshop; minimal SketchUp.
SELECTED CLIENTS, ARTISTS & COLLABORATORS
Brands & Institutions: Bulgari; Brioni; Kenzo; Fisher-Price; Absolut Vodka; Chrome Hearts; MOCA Los Angeles; Pasadena Museum of California Art; Fowler Museum at UCLA; San Diego Museum of Art; Atelier 4; Therapeutic Living Center for the Blind.
Photographers, Directors & Creative Collaborators: Inez & Vinoodh; David LaChapelle; Humberto Leon; Carol Lim; projection designers, production designers, art directors, curators, registrars, conservators, artists, agencies, performers, and independent fabrication teams.
Artists & Museum Projects: Ed Ruscha; Chris Burden; Pae White; Dan Graham; additional modern, contemporary, and culturally significant collection and loan objects.
WORKING PHILOSOPHY
Sophia does not begin with a favored material and force the idea to fit it. She begins with the image, character, object, environment, or experience that needs to exist. From there, she draws on everything she knows, asks the right questions, learns quickly, and invents new methods when established ones are not enough. That is the through-line connecting her museum work, production design, fabrication, costumes, ceramics, teaching, furniture, and independent art.
As a leader, she believes in making expectations clear, giving people room to contribute, sharing knowledge, and stepping directly into the work when the team needs help. She is known for bringing energy, warmth, curiosity, humor, and steadiness to demanding projects—and for being both deeply serious about the work and genuinely enjoyable to work with.
REFERENCES AVAILABLE UPON REQUEST
