I run my own practice, staying close to research and production at every stage — from first material to final form.
Each project moves through my hands, shaped as much by what I learn from making as by what I draw.
My work often begins somewhere else: with a word, a memory, a material, a gesture, or a question. I am interested in tracing where things come from, what they carry with them, and what can remain as they take on a new form.
Rather than reproducing references, I look for what can continue through them: a proportion, a gesture, a way of making, or something familiar that persists even as material, scale and context change.
My work often begins somewhere else: with a word, a memory, a material, a gesture, or a question. I am interested in tracing where things come from, what they carry with them, and what can remain as they take on a new form.
Rather than reproducing references, I look for what can continue through them: a proportion, a gesture, a way of making, or something familiar that persists even as material, scale and context change.
While studying industrial design, I also pursued undergraduate studies in graphic design, building a foundation across both physical objects and visual communication. I began my professional practice in furniture and product development, gaining direct experience in manufacturing processes, materials and the realities of bringing objects into production.
My independent work gradually expanded through collaborations across different sectors and scales, from brand identities and packaging to textiles, visual communication and creative direction. Moving between these fields broadened the way I approach a project while keeping physical objects, materials and production at the centre of my practice.
Today, I work across commissioned projects and independent products and collections, continuing to explore new materials, production methods and collaborations as my practice evolves.
Background
Product and furniture design remain at the core of my work, while projects often extend into visual identity, packaging, textiles and creative direction.
I move between these disciplines according to what a project requires. An object can lead to its visual language; research can become a pattern, an image or a spatial decision. Rather than treating these as separate outcomes, I use them as different ways of developing and communicating the same underlying idea.
This curiosity brings me into different materials, processes, and ways of making. Working with craftspeople and manufacturers is part of that exploration; their knowledge, the possibilities of a material, and the realities of production all become part of the design.
I see this exchange not as the execution of an already finished idea, but as a place where the idea itself can evolve. A drawing may begin the conversation, but making continues it.
Making
Practice
Background
While studying industrial design, I also pursued undergraduate studies in graphic design, building a foundation across both physical objects and visual communication. I began my professional practice in furniture and product development, gaining direct experience in manufacturing processes, materials and the realities of bringing objects into production.
My independent work gradually expanded through collaborations across different sectors and scales, from brand identities and packaging to textiles, visual communication and creative direction. Moving between these fields broadened the way I approach a project while keeping physical objects, materials and production at the centre of my practice.
Today, I work across commissioned projects and independent products and collections, continuing to explore new materials, production methods and collaborations as my practice evolves.
Making
This curiosity brings me into different materials, processes, and ways of making. Working with craftspeople and manufacturers is part of that exploration; their knowledge, the possibilities of a material, and the realities of production all become part of the design.
I see this exchange not as the execution of an already finished idea, but as a place where the idea itself can evolve. A drawing may begin the conversation, but making continues it.
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Product and furniture design remain at the core of my work, while projects often extend into visual identity, packaging, textiles and creative direction.
I move between these disciplines according to what a project requires. An object can lead to its visual language; research can become a pattern, an image or a spatial decision. Rather than treating these as separate outcomes, I use them as different ways of developing and communicating the same underlying idea.
While studying industrial design, I also pursued undergraduate studies in graphic design, building a foundation across both physical objects and visual communication. I began my professional practice in furniture and product development, gaining direct experience in manufacturing processes, materials and the realities of bringing objects into production.
My independent work gradually expanded through collaborations across different sectors and scales, from brand identities and packaging to textiles, visual communication and creative direction. Moving between these fields broadened the way I approach a project while keeping physical objects, materials and production at the centre of my practice.
Today, I work across commissioned projects and independent products and collections, continuing to explore new materials, production methods and collaborations as my practice evolves.
Background
Practice
Her practice is deeply rooted in Industrial Art Projects, where the boundaries between function and artistic expression dissolve. These projects transform industrial objects into cultural statements—merging craftsmanship, contemporary aesthetics, and conceptual storytelling to create meaningful, enduring forms.
Her approach embraces a boundaryless studio culture, defining design as a journey unrestricted by geography. This philosophy allows her work to thrive in an ever-evolving creative space—one that fosters exploration, innovation, and a continuous reshaping of the relationship between art, design, and storytelling. By rejecting the constraints of a fixed location, she creates within a dynamic, open-ended framework, where new ideas take shape through a deep engagement with history, nature, and material.
Every project follows a rigorous research and strategic development process, analyzing its position within the industry before crafting its unique identity. Through design exploration and narrative-driven methodologies, she ensures that each creation is not only visually compelling but also meaningful and cohesive. Inspired by art and nature, her designs bring together aesthetics, cultural significance, and contemporary function.
Since 2023, she has been working on project-based collaborations, partnering with global brands, independent creators, and high-level experts across different disciplines. She continues to shape design strategies, collections, and product identities with a focus on timeless aesthetics, cultural depth, and meaningful narratives—bringing new perspectives to the intersection of tradition and modernity.
