There’s been a flattening between the worlds of jewelry design and furniture in recent years, and nowhere is that more apparent than in the work of Llewellyn Chupin, who has studios and homes in both New York and Paris. Her Rituals of Adornment collection, which debuted at Collectible last fall, features five pieces made from patinated aluminum and silk, embellished with little flights of folly like a silk skirt covering the bottom half of a three-panel room divider, or silver chains hung with pearls running down the corner seams of two floor lamps. (The effect being very Haim sisters in Louis Vuitton at the Grammys, IYKYK.) This year, Chupin will continue to explore the material and formal language she established with that collection, but at the moment, she says, “I’m diving deeply into the symbolism of votive offerings and how they might be translated into contemporary objects. Sacred places and ritual gestures are recurring points of reference in my work, and this research is currently taking shape through experiments with embedded silver, cast glass, and silk, alongside what has become an abundance of sconce prototypes (but can we ever really have too many sconces?).” Small decorative objects, as well as a residential interiors project in New York, are also in the pipeline.