I’m Belinda Collins, a specialist creative. Director/Senior Producer/Experience Specialist, whichever you prefer, with 20 years’ experience creating, producing, and delivering high-calibre projects and experiences across Australia, the UK, Europe, Canada, Morocco, Singapore, South Africa and the USA.

I bring bold ideas to life through public art, immersive exhibitions, placemaking, and cultural experiences. My focus is on making complex projects feel effortless, while keeping the work playful, considered, and meaningful.

For the past 12 years, I’ve worked independently under my studio, The Social Crew, producing projects for artists, creative businesses, brands, and cultural institutions. This work spans immersive exhibitions such as House of Kong with Gorillaz in London and Empire and TIME by Rone in Melbourne’s abandoned spaces, public art and placemaking projects including Sunnyside commissioning Morag Myerscough to create with community, designing art trails on Country with First Nations artists, and producing city-wide festivals and events such as White Night Melbourne, MONA FOMA, and Art After Dark, engaging audiences of up to 500,000.

My approach is collaborative and artist-friendly. I work closely with creatives to protect the integrity of their ideas, while leading teams to deliver strong outcomes with care and precision. I’ve collaborated with hundreds of creatives across disciplines, including Morag Myerscough, Alexandra Daisy Ginsberg, Rone, George Rose, Georgia Hill, Abbey Rich, and Beci Orpin, and musicians from animated mischief with Gorillaz, gritty punk with The Peep Tempel, and shows with national treasures such as John Farnham. The work balances ambitious ideas with excellent execution from set to stage to space.

My experience spans project management, technical production and installation, creative fabrication, operations, and marketing, alongside leading multidisciplinary teams and managing complex budgets of up to $8 million. I specialise in immersive, large-scale experiences at the intersection of storytelling, design, and physical world-building. With a past life across legal, finance, and B2B events, when managing financial forecasting, I bring commercial clarity to creative work without flattening its spirit.

Projects are designed to generate cultural and social impact, deliver experiences at a world-class level, support artistic practices, engage communities, and deliver outcomes valued by partners and stakeholders, without compromising the soul of the work. My collaborations with brands focus on meaningful, well-crafted projects, where commercial objectives sit comfortably within the creative vision.

Ghost trains. Abandoned mansions. Empty train stations, pig pens, heritage buildings, and the cliffs of the Great Ocean Road. From recreating the 1940s and 50s, carving punk bunkers for Brian Ritchie (Violent Femmes), turning virtual worlds into real ones with Swear Studio (Gorillaz), the work has a habit of appearing where it’s least expected, and that’s usually the point.

In 2024, I was accepted into the creative exchange at Somerset House, London. Alongside my creative practice, I’ve written articles, course material and lectured at the Australian College of the Arts, The College of Event Management, and mentored emerging professionals through industry programs. Once upon a time, I also ran an edgy little gallery space in the guts of Fitzroy. It was the place to be. That was fun. In short, I do fun stuff very well.

Outside of work, I’m an avid adventurer, traveller, lover of trees, Pilates, and the ocean.