I didn’t train at a jewelry bench — I studied art and philosophy, worked in couture circles, and taught myself technique through craft. I work slowly. When the Met gave me a retrospective in 2013 — 400 jewels, no prices, no labels, no loans — the galleries fell into reverent silence. Visitors whispered, critics described the mood as trance-like. My work is meant to be seen slowly, intimately, like a conversation between stone and soul.