I took this photo during a beach vacation, when a summer storm was rolling in. It looks ominous, but somehow my eye always travels to the sliver of light amid the darkness, the evidence that the storm would pass quickly.

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Boro is a Japanese fabric made from old, handwoven cotton indigo pieces stitched together into layers. When I look at this piece, I’m reminded of how old things—textiles, ideas, traditions—can be rediscovered, revalued, and fashioned into something new.

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This is my Alfi Kugel carafe, designed by Ole Palsby. When I use it, I feel transported to a more perfect version of my life.

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My mood is hopeful, even though life has felt like a jumble of chaos on many levels lately. I recently bought this painting by Bruce Pileggi that feels balanced, bringing a sense of clarity.

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I am inspired by the traditional Japanese concept of Kintsugi (“golden joinery”). Instead of discarding a cracked or broken piece of pottery, a craftsperson mends it with a hard laquer, dusted with powered gold. The flaw is emphasized and embraced, celebrating the imperfection. It tells a story. In my work, I’ve found that by emphasizing an irregularity, a design can become more interesting and engaging.

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I encountered this guy on a walk in Harlem and the scene encapsulated my vibe: feeling a bit roughed up but optimistic things will get better.

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After being lifelong renters, my husband and I recently became homeowners. I have now entered my garden design era; these peonies are from said garden.

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This is a still from an immersive horror/mystery play I wrote and directed a few years ago. The audience sat in the living room of an apartment as the play unfolded around them. In 2026, I’ve worked to tap back into that playful energy of experimenting with the bounds of storytelling mediums.