A collection of thoughts, images, and videos reflecting my design process — documented on film by Vincent Staropoli.

March 2025

Studio documentation from the early stages of Graces. Clay models, sketches, and collages mapping out form and silhouette — a tactile, iterative exploration before the immediacy of glassblowing.
The clay studies help define the silhouette of each figurative vessel before it takes shape in glass.
Where glass moves fast — almost instant, irreversible — model making is slower, forgiving, and patient. It’s where decisions stretch, shift, and settle.

January 2025

A trip to Venice to begin the glassblowing production of Graces in Murano.
A wandering documentation of ornamentation, feminine embellishments, and sculptural references to the female figure — drawn from the city’s architecture, classical sculpture, and Renaissance painting.
Captured in a video, these details come together to tell the story of the collection.

Graces Catalogue

August 2024

A summer spent at home, revisiting ancient Greek ruins in their natural landscapes.
The sunlight shifts constantly, changing how every form and detail is revealed. All the much-talked-about qualities of Greek light turn out to be true.
The island wind makes the stone structures feel even heavier, and the mythical energy feel even lighter.

June 2024

A few weeks upstate, surrounded by early summer’s dense green hues.

Natural forms and soft light brought to mind Art Nouveau — echoed in a series of paintings for new mirrors and clay models for chairs. The palette followed the season: muted greens, dusty pinks, and warm earth tones.

Lately, I’ve been looking closely at Botticelli, drawn to both his human figures and his treatment of nature.

I’ve also been reading one of my favorite Greek poems by Elytis, tracing the hidden threads between his words and Botticelli’s imagery.