As a designer in 2025, I’m constantly navigating the uncertainty of figuring out where I fit in a world that’s evolving faster than I can keep up with. I’m deeply curious about how design intersects with culture, identity, and society, and I feel a strong responsibility to create experiences and products that are not just visually appealing but also meaningful and impactful. The pressure to stay relevant in a constantly shifting landscape is immense, as new tools and trends emerge almost daily, but I’m motivated by the desire to make a positive difference. I focus on authenticity and longevity, striving to create work that resonates with people on a deeper level rather than simply following the latest trends or chasing profit. Despite the challenges and uncertainties, I’m committed to growth, collaboration, and learning, embracing the unknown and the mistakes that come with it, with the goal of creating something that truly matters and can contribute to a better, more thoughtful society.

The monument in Millennium Park, Chicago, honors Virgil Abloh, a groundbreaking artist, fashion designer, and cultural icon, through two sculptures that celebrate his legacy and creativity. The first sculpture, an abstract representation of the Off-White logo, crafted from steel, invites viewers to explore its interior, featuring Abloh’s quotes and vibrant orange and blue hues that reflect his design philosophy. The second sculpture, a black marble figure of Abloh in a pose of quiet strength, symbolizes his lasting influence and deep connection to Chicago. The monument's design, with careful attention to materials, size, and symbolism, links Abloh’s modern style with classical traditions and encourages public engagement. It serves as a tribute not only to his contributions to fashion, art, and design but also to his enduring cultural impact, inviting visitors to reflect on his legacy and the potential for creativity to shape the future.

The documentary Citizenfour deepened my understanding of Edward Snowden and his decision to expose NSA surveillance. This was reflected in the creation of a controversial Snowden hologram monument in Brooklyn’s Fort Greene Park, where an illegal bust was replaced by a hologram after being removed by police. The intangible nature of the hologram made it impossible to seize, symbolizing Snowden’s lasting impact on privacy debates. This idea of using holograms for monuments is also seen in the Netaji Subhas Chandra Bose Monument in India, which was initially presented as a hologram before the physical statue was finished. Both monuments use holographic technology to spark discussions about history, freedom, and ethics.

Louis Vuitton, a global luxury brand known for its iconic accessories, has built its success through strategic public relations, creative collaborations, and solid financial backing. Founded by Louis Vuitton in the mid-1800s, the brand quickly rose to prominence after being chosen by the Empress of the French to organize her wardrobe. Over time, Louis Vuitton expanded its influence by hiring renowned creative directors, like Marc Jacobs and Virgil Abloh, to push boundaries in fashion and connect with diverse audiences. Notably, Abloh’s appointment as the first Black artistic director in 2018 brought a fresh perspective and helped attract younger, trend-conscious consumers. Through innovative marketing, iconic trademarked designs, and strong investor relationships, Louis Vuitton has solidified its reputation as a luxury powerhouse, continuing to evolve and inspire the fashion industry.

In this essay, the author explores how artists Marcel Duchamp and James Luna revolutionized the concept of art by challenging traditional boundaries. Duchamp, known for his Readymades, such as Bicycle Wheel and Fountain, redefined art by presenting everyday objects as art and encouraging viewers to rethink their perceptions. Similarly, James Luna used his body as a medium to address Native American identity and the misrepresentation of his culture, notably in his performance piece Artifact Piece. The author imagines a collaborative exhibition between the two artists, where Duchamp could incorporate Native American tools in his Readymades, blending their shared goal of provoking thought and challenging societal norms. Through their works, both artists expanded the scope of art, emphasizing its limitless potential to communicate, break boundaries, and inspire change.

This upcoming winter, I propose an exhibition that will spark meaningful discussions about America’s working class, using two key artworks: Grant Wood's American Gothic (1930) and Criselda Vasquez’s The New American Gothic (2017). The exhibition will explore how Vasquez, through her reinterpretation of Wood’s iconic piece, draws on its historical context while addressing contemporary issues related to labor, gender roles, and cultural identity. By displaying both works together, visitors will gain a deeper understanding of how the image of the American working class has evolved, as well as a renewed appreciation for the often-overlooked roles that hardworking individuals play in society. This exhibition not only aims to foster important conversations but also provides an opportunity to reflect on the broader societal changes and challenges that shape our communities today.

Katsushika Hokusai's The Great Wave off Kanagawa stands out not only as one of his most recognizable works but also as part of his Thirty-Six Views of Mount Fuji series, which many people are unaware of. This iconic print, widely reproduced in modern media—from social media to merchandise—offers a captivating compositional structure. The dynamic wave leads the viewer's eye in a continuous loop, symbolizing motion and rhythm, while the subtle presence of Mount Fuji in the background transforms the print's energy. Initially disguised as part of the wave, once recognized, Mount Fuji becomes a solid, stabilizing force in the image, shifting the sense of motion to stillness. Hokusai’s use of texture and layered techniques further enhances the depth and contrast of the piece, making it a timeless masterpiece that continues to captivate audiences.

While researching African masquerades on eBay, I came across a listing for a "lot of 3" masks, which sparked a deeper reflection on the commercialization of cultural artifacts. The term "lot" often refers to bulk items in markets, yet these masks, tagged with phrases like "Capture the Essence of Africa," seem to simplify and commodify a rich cultural history. My experiences at a flea market in Cape Cod, where African artifacts were sold as souvenirs, reminded me of the disconnect that can arise when these items are removed from their cultural context. While some may buy these masks for display or status, the true essence of these pieces lies in understanding and connecting with their cultural significance, which is often lost in such transactions.