top of page
Liberté Nuti
A pale silk blouse, lightly dotted, noticed instantly. Liberté Nuti calls it: “Dots are universal.” Pointillism is a way of seeing. She has spent decades in Impressionist and Modern handling works on paper; framing, placing, deciding what goes where and into whose hands. Beginning at Christie’s in 1997, and private sales, she describes the real skill as repetition—close looking until the eye stops guessing. “You hold something long enough,” she says, “you feel when it's real.”
Christopher Russell
Christopher Russell describes ceramics with blunt clarity: you give hours of attention to an object, then surrender it to fire without guarantees. Clay asks for the opposite of modern speed—stillness, patience, tolerance for failure—and it doesn’t flatter you when you’re unsure. After thirty years, his work reads well in a risky contract: beauty cracks, burnout that shadows devotion, and the practised art of letting go as the medium.
Megan Puleri
A car accident led to emergency brain surgery. Model and artist Megan Puleri shares the recovery process, that arrives in small returns. A steadier walk. A longer breath. Surgery saved her life. Now comes everything after.
Kirk Thomas Mayers
Two heart failures. Over three hundred pounds. Kansas City. The math of survival arrived first. In about two years, 130 pounds gone. Later, there is a name and a business. But the foundation was not only ambition. It was necessity, and the urge to translate what he lived into something other people could use.
Elah García
Born in the Dominican Republic. A minor car accident forces a stop. At her aunt’s house, time opens. While they wait for the mechanic, her mum takes a few photos. The next day, Elah sends them to a local agency and the reply comes fast. Four hours by bus to Santo Domingo follows, and on the road a sign reads, “Today is your big day.” From there it becomes repetition. The capital, then back again. One suitcase, many dreams, and the work that make them real.
Cairo Dwek
In Los Angeles, Cairo Dwek chased a body shaped by image and omission, seduced by a fashion world that promised clarity and delivered distortion. “Normal” became a moving target: self-esteem rewritten by the mirror. Then the pandemic shut the stage down, her father got seriously sick with Covid, and a brutal question cut through: why spend your life negotiating a cookie? What replaces that obsession is slow and obsessive—pointillism as practice, as patience, as a method for reclaiming the self.
Nokki Cabrera
Nokki Cabrera grew up in a house where music carried memory and identity. Her parents’ 1994 exit from Cuba shaped her resilience, work ethic, and joy. The “Princess of Trap Salsa,” fusions Cuban salsa spun with Southern hip hop, laced with trap and pop, then names it for what it is: inheritance made electric.
bottom of page