Hum jewelry is designed by Tomohiro Sadakiyo and Yuka Inanuma, artisans and designers who appreciate Japanese artisanal techniques, material culture and the powers of adornments in equal measure. Comprised of 18-karat white and yellow gold and set with champagne or colorless diamonds, Hum jewels often combine 18-karat white and yellow gold in the same piece. These contrasting precious metals imbue Hum designs with an understated aura of luxury that whispers chic confidence. As Sadakiyo and Inanuma explained, “We design our jewelry for individuals who, like us, wish to master their own paths and implement their desires creatively.” A quick survey of their designs suggests that Hum is indeed a leader in gender-fluid luxury jewels with great design and emotional depth. For those who want to experience their jewels in their native environment, HUM’s Tokyo atelier and boutique is located at 〒150-0001 Tokyo, Shibuya City, Jingumae, 2 Chome−31−7 ビラ・グロリア 1F.

Sadakiyo and Inanuma started Hum by developing tools they could use to create jewels that embody their shared visions of substance, style and master artisanship. By creating and using tools and processes that support experimental metalworking techniques, Sadakiyo and Inanuma explained, “We imprint metal with uniquely artistic surface textures and apply special finishes.” In the eyes of Hum collectors and retailers like objetdemotion.com, “Hum is valued for its design rarity, artisanal integrity, technical excellence and of course, material and visual beauty,” said Valery Demure, founder and curator of objetdemotion.com. “For those who understand style, jewelry design and fabrication, it’s immediately apparent that Hum jewels are born through creative exploration and artisanal innovation, as opposed to luxury marketing strategies.”

According to Sadakiyo and Inanuma, “What truly captivates us is the desire to manipulate metal freely to express our vision. Our initial fascination was with craft processes, as opposed to design, owing to our background as artisans.” The duo’s initial research involved the making of Hum jewelry, along with wide-ranging discussions about how to express universal myths, symbols and concepts in elegant designs.

As you’ve probably gathered by now, Sadakiyo and Inanuma are rather more philosophical than most luxury jewelers. What’s more, anthropologists like Claude Lévi-Strauss and notions of Eternity are driving forces behind their creations. (Lévi-Strauss theorized that universal laws must govern mythical thought, and thus this explains why similar myths animate so many of the world’s disparate cultures. While each myth may seem unique to the people who invent it, Lévi-Strauss asserted that any one myth merely represents one particular instance of the universal law of human thought.) “We have a keen interest in the structures and patterns postulated by Claude Lévi-Strauss,” Sadakiyo and Inanuma said. While they are creating collections, however, “We also delve into fine art, performing arts, music and fashion. Micro meets macro, theory meets body.”

Toward that end, Sadakiyo and Inanuma created a collection they named “Humete”. As they explained, “Humete is a word we created and this collection embodies ‘Eternity’ as conceived by Hum.” While they admit that, “The concept of ‘Eternity’ may not exist or be provable, but we thought that we could design motifs that symbolically capture this abstract idea.” The Humete collection, they continued, involves hand-wrought chains, as links in a chain can symbolize Eternity. “Chains have existed since ancient times, used for decorative and functional purposes,” they observed. “We set several conditions when designing a new chain that would immediately be recognizable as Hum jewelry, made entirely by hand, without advanced technology,” they said. “We designed the clasps to secure the connection without breaking the visual continuity.” The overall visual effect is one of restrained luxury that looks simultaneously timeless and ancient, gender-fluid, classic and quietly chic. Voilà: jewelry to wear and hand down through Eternity.

Another example of Hum’s luxurious conceptual jewelry comes in the form of their “Art Deco Lace” collection, which began with the duo’s interest in Art Deco design, which became fashionable about a century ago as the world became more highly industrialized. “We were curious about how the shift from Art Nouveau to Art Deco reflected societal changes, including the economic and cultural shift from Europe to the United States; the transition from small-scale and bespoke production to mass production.”

Noting that 2023’s economic and cultural conditions are geared towards making and consuming global, standardized and evermore digitized products, Sadakiyo and Inanuma explained, “Visually, we were inspired by Art Deco, but instead of embracing the anonymity of standardized production we took a more sensitive approach.” Focused on creating maximum material and visual beauty, “We treat each jewel individually, producing them by hand, using conflict-free diamonds and fusing recycled precious metals. Each design element celebrates the craftsman’s touch.” While they admitted they don’t know which path our society is taking, they ventured, “We imagine in 100 years, that our collection might capture this pivotal moment in time.”

Sadakiyo and Inanuma and their artisans work in a traditional atelier that’s located in central Tokyo, surrounded by independent shops and family-run restaurants. They noted that, “Our studio houses eight artisans who craft Hum jewelry. Everything is produced in house.” As soon as the duo creates a new concept for a collection and elementary design parameters are determined, Hum artisans begin to create samples in silver or copper. “Our designers work closely with the artisans, examining each sample in detail for ease of wear, balance, look and feel,” they said. “We and our artisans work until we are satisfied.”

Although Hum is a relatively young luxury jewelry company, its creations suit the present yet also look like they belong to the future. Hum’s time-traveling style sensibility, philosophical depth and intrinsic classicism differentiates it from all other brands. As Sadakiyo and Inanuma noted, “Whether it’s years or days later, we would be pleased if our pieces could serve as catalysts, sparking beautiful memories for those who wear them.” Although designed for the here and now, Hum designs, especially the Humete and Art Deco Lace collections, literally embody nostalgia while preparing to be worn by humans for Eternity.

Embarking on the journey of starting and growing an enterprise is both thrilling and demanding. This comprehensive guide offers aspiring entrepreneurs a detailed roadmap to navigate the complexities of building a successful business.

By following these step-by-step instructions, you’ll establish a strong foundation and position yourself for sustained growth and prosperity. From defining your vision and conducting market research to securing funding and building a capable team, each crucial aspect is covered. With this guide as your compass, you can confidently embark on your entrepreneurial endeavor and chart a course towards long-term success.

Step1: The Idea

The notion of an idea refers to conception that arises from comprehending something subconsciously. It is truly remarkable how our minds have the capacity to generate thoughts and solutions on gaining awareness of certain concepts. Therefore, when various ideas begin to circulate in your mind, it is crucial not to disregard them. Instead, embrace them and strive to bring them to fruition. It is impossible to determine which idea may hold immense value, while we unknowingly overlook them. Giving life to an idea carries significant responsibility and necessitates careful planning and comprehension.

Step 2: Reason to start?

Before diving into the execution of your idea, it is important to understand why you want to pursue it. Questions like why you want to start this business or create this product are important to be answered. Understanding your motivation and goals will provide clarity and direction. Knowing where you are heading and why will guide your decision-making process.

Step 3: Ignite the fire: – Research and planning

When you are clear with what and why to start, it’s time to ignite the fire by conducting research followed by planning. In today’s technology-driven world, information is readily available, making it easier to gain knowledge about your idea. Try to grab as much information as possible by taking help of entrepreneurial magazines, participation in events, competition and market etc. Take enough time to research your market niche, understand its potential, and develop strategy considering factors such as expected costs, initial investment, ongoing expenses, team requirements, workspace, and sales platforms. Thorough research and planning are crucial steps in setting a strong foundation for your business.

Step 4: Incorporate and expand in Numbers

Incorporate the idea to protect its interest followed by building a team of you. Networking plays an important role here, if you have a good network and connections, you’ll be able to build a team easily and faster. Networking has its own importance in business so in growth. You may find it difficult to build a team initially because of obvious reasons like experience, capital and other factors. So, try to build a team of people with multitasking capabilities, some with experience and knowledge, some new minds with no experiences, in short a diversified team.

Step 5: Scaling without Rushing

Once your business is fully prepared, it’s time to launch and generate awareness. Craft a captivating brand identity that aligns with your vision and resonates with your target audience. Construct a professional website that effectively showcases your products or services and offers a seamless user experience. Establish a robust online presence by leveraging social media platforms, content marketing, search engine optimization (SEO), and online advertising. Depending on your target market, consider utilizing traditional marketing channels like print media, radio, or local events. Continuously monitor and analyze your marketing efforts, making necessary adjustments to maximize your reach and customer engagement. Utilize data analytics tools to measure campaign effectiveness and refine marketing strategies.Avoid equating success solely with profit, as impatience for immediate results can unduly influence your overall vision and potentially divert you in a different direction. While advancing in business, maintain your long-term vision and objectives that were established during incorporation. It is crucial to resist being swayed by immediate circumstances and making short-term decisions that could pose risks in the future. Remember, the key is to stay in the game, particularly during the initial stages, so avoid rushing, maintain a steady pace, and refrain from quitting.

The author is Founder, Jeans Unofficial

In the 1860s, the U.S. government introduced kerosene as an alternative for lighting lamps. Whale oil had previously dominated the market but was unsustainable given the appalling number of animals killed in order to provide power. The country quickly transitioned to fossil fuels, swapping one harmful and extractive practice for another. While whaling had its economic implications, it also birthed a largely nautical art form known as scrimshaw, or engravings in bone or ivory.

Artist Duke Riley is attuned to this history and its modern-day implications. He gathers laundry detergent jugs, flip-flops, and bottles that once held household products once they wash up near beaches and carves incisive allegories and ornamentation into their surfaces. Painted in a warm, grainy beige, the scavenged waste mimics the whale bones traditional to scrimshaw while the artist’s signature wit emerges through the contemporary narratives of oil barons or marine creatures carrying human trash.

“No. 363 of the Poly S. Tyrene Memorial Maritime Museum” (2023),  painted, salvaged plastic, ink, wax, 2.5 x 4 x .25 inches

Having grown up in New England, Riley frequented maritime museums with his family as a child. These experiences formed his “early ideas of what art was,” and the marine, folk art aesthetic emerged early in his practice—it’s also unsurprising that today, Riley frequently works from a boat docked near Rhode Island. As problems with waste and plastic pollution became more obvious during his visits to the ocean, he saw an opportunity to expand his scrimshaw works. “I was walking down the beach one day, and I found a piece of plastic that I thought was a bone and picked it up. It turned out to be a deck brush handle for scrubbing a boat deck,” he tells Colossal.

This encounter prompted what’s now a growing series of engraved sculptures, many of which comprise the Poly S. Tyrene Memorial Maritime Museum. Diverging from the cheerful, bright colors of packaging, Riley distorts the containers designed to promote unchecked consumption at the expense of the environment. “I have always used a lot of found materials,” he shares. “For me, it’s about taking a found material or something that’s discarded or trash and trying to transform it in a way that it’s almost no longer recognizable.”

“Echelon of Uncertainty (Bad Guys)” (2022), salvaged painted plastic in wood and glass case, 18 x 51 x 6 inches

Together, the works position plastic waste as relics of our time with the potential to outlast humanity. “When you go to a maritime museum, and you see these different scrimshaw portraits on whale teeth, oftentimes, they portray the people that benefited most from the whale oil industry and that are most responsible for wiping two species of whales completely off the planet,” Riley says. He draws on this tradition, too, carving stylized renditions of Exxon chairman John Kenneth Jamieson or Arnold Schwartz, who founded Paragon Oil which later sold to Texaco, into the hard surfaces.

Whether depicting a hungover couple or a magnate plummeting into the ocean, Riley strives to use satire as a way to make the effects of pollution and the climate crisis more accessible. “Using humor sometimes is an easier way to engage people in things that are too large to wrap your head around. When talking about any sort of difficult subject, it’s a lot easier to (use humor to) talk about something that is painful or challenging and to reach people and not feel like you’re preaching,” he says.

Riley is currently working toward an upcoming show in Los Angeles and on a project centered around fast fashion. You can follow updates and see more of his scrimshaw sculptures on Instagram.

Detail of “Echelon of Uncertainty (Bad Guys)” (2022), salvaged painted plastic in wood and glass case, 18 x 51 x 6 inches

“No. 108 of the Poly S. Tyrene Memorial Maritime Museum” (2020),  painted, salvaged plastic, ink, wax, 12.5 x 4.75 x 2.25 inches

“No. 367 of the Poly S. Tyrene Memorial Maritime Museum” (2023),  painted, salvaged plastic, ink, wax, 2.5 x 4 x .25”.

“No. 66-P of the Poly S. Tyrene Memorial Maritime Museum” (2019),  painted, salvaged plastic, ink, wax, 12.75 x 7.5 x 3.5 inches

“No. 26 of the Poly S. Tyrene Memorial Maritime Museum” (2020),  painted, salvaged plastic, ink, wax, 12.25 x 7.25 x 3.5 inches

“No. 365 of the Poly S. Tyrene Memorial Maritime Museum” (2023), painted, salvaged plastic, ink, wax, 2.5 x 4 x .25 inches

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article By Engraving Found Plastic Waste, Duke Riley Links Extractive Practices Throughout Human History appeared first on Colossal.

During an economic downturn, companies are under pressure to trim expenses while justifying investments intended to drive ongoing customer growth. Marketing can get caught in the cross hairs of budgetary reduction exercises, but some large firms, including Beyond Meat, for example, are betting that more marketing will drive a bigger customer pipeline.

“There remains confusion around what we make our plant-based products from and how we make them. Setting the record straight is a key part of getting consumers back to the category,” CEO Ethan Brown told investors in May as he explained the company’s continued marketing push. “Clear marketing around health and taste … [is] going to drive us back to a growth position in the second half of the year.”

The conversation between CFOs and chief marketing officers, in turn, is about positioning marketing as an investment rather than a cost, and often centers around aligning marketing performance metrics with firm-wide goals.

Financial chiefs have mixed outlooks on marketing spending. A survey of about 300 CFOs in November by Gartner found CFOs had mixed opinions of marketing spending: just over half (53%) wanted to increase marketing budgets; while a little less than half (46%) wanted to keep marketing spending at the same level or trim it. 

Metrics matter

Regardless of whether marketing budgets are moving up or down, discussion around metrics is increasingly coming into focus.

“In order not to restrict your CFO when you put forth your marketing budget, you just can’t defend the return on investment for half of it. You need to support the ROI for all of it,” said Emmanuelle Rivet, vice chair, U.S. technology media and communications and global technology leader at PwC. 

CFOs are looking to see the gross profit for every dollar of marketing invested, she added. 

PwC research suggests there is room for improvement: PwC analysis of proprietary research from 2022 and 2023 concluded that the majority of executives found that up to 20% of marketing investments were inefficient or ineffective, a company spokesperson told CFO Dive.

In challenging economic times, firms tend to cut brand spending and focus more on performance marketing, a dynamic that played out in the Great Recession, said Lauren Wiener, a managing director and partner and head of marketing for North America at Boston Consulting Group. 

Brand marketing is aimed at generating longer-term consumer affinity, while performance marketing is often linked to shorter-term, more concrete metrics, including yielding leads, new customers, and return on the amount of money spent on acquiring the customer.

“What we’re seeing … is a push and pull on that for brands to be successful,” Wiener said. “What a CFO is going to want is positive, immediate and a certain return, and what a CMO wants is to balance is the short-term marketing levers that drive sales with the long-term branding initiatives which are critical for the overall long-term health of an organization.”

Beyond billboards

CMOs need to convince CFOs that marketing is an investment instead of a cost. CFOs say they are prioritizing marketing efforts that drive a quick return and for which attribution can be clearly established. Return on customer acquisition cost, or the amount a company spends to gain a customer, is a common benchmark for measuring whether marketing efforts are successful.

“You work hand in hand with your CMO to come up with a bottoms-up plan that you both think is achievable,” said CJ Gustafson, CFO of auto parts marketplace PartsTech and author of CFO-focused newsletter Mostly Metrics. “A key [metric] to look at is the customer acquisition cost and the payback it takes to recoup that cost. This is something I work on with my CMO on a monthly basis.” 

Gustafson said he doesn’t think the metrics for marketing have changed since the economic downturn, but the level of scrutiny is higher.

“With customer acquisition costs, you measure that with a payback period. Now, a lot of mid market companies are aiming for 12 months or less,” he said. “A couple of years ago, CEOs and boards were fine for 18 months, 20 months, or 22 months — because we were chasing the market.”

The emphasis now is on generating a quicker return that’s measurable, instead of less easily attributable brand boosting initiatives like conferences and branded swag, he added.

Jeremy Klaperman, CFO of New York-based business banking tech firm Rho, said the company is emphasizing growth marketing over brand marketing.

Growth marketing “refers to specific campaigns such as paid or unpaid advertising or search that brings [potential customers] to your website or brings them into the funnel,” he said, explaining that all leads can be tracked. “A billboard is great, it’s beneficial, but you can’t say ‘Hey, we got those leads from that billboard.’” 

CFOs skill up on marketing

Just like CFOs have learned to work with chief information officers, CFOs also need to beef up their understanding of marketing in order to bridge communication gaps between CFOs and CMOs, executives said.

“CFOs need to understand the marketing funnel, the marketing pipeline … I’ve done a lot of studying on marketing topics that two years ago I had no idea what they meant,” Gustafson said. “You have to get into the mind of the CMO.”

One way to help CFOs learn about marketing is to meet with team members one on one. Angela Pierce, CFO of Anaconda, a distributor of Python and R programming languages, said she meets regularly with marketing team members to address outstanding questions, including ways of measuring return on investment. (Anaconda doesn’t have a CMO, but the company’s vice president of marketing reports to the CFO.)

“Once you set up that cadence, it’s been really good because I can have a one-on-one relationship with [marketing team members],” she said, noting that it’s also a way to inform marketing team members about how metrics are measured at the board level. 

CFOs also need to step outside of a black-and-white interpretation of metrics, and take marketing team members’ advice on how to interpret the numbers, she said.

“There’s a lot of art in marketing… I really have tried hard to not assume that I understand what the data means,” said Pierce. “The more important thing to me is understanding the data and collaborating with the team on it versus just having access to it.”

At HarperCollins Children’s Books, v-p and creative director Barbara Fitzsimmons is retiring on June 30. Amy Ryan has been promoted to v-p and creative director, from senior art director.

Simon & Schuster Children’s Publishing has three new hires. Jennifer Strada has joined managing editorial as senior production editor for McElderry Books. Megan Gendell has joined managing editorial as production editor for Little Simon, Simon Spotlight, and Aladdin. Vrinda Madan has joined Aladdin Books as editorial assistant.

Lerner Publishing Group has three new hires. Sean Tulien has been named editorial director at Graphic Universe; previously he was senior manager, editorial at Audible. Doug Hodgemon has been named production director; previously he was director of purchasing at 1517 Media. Bethann Kemling has been named human resources director; previously she was human resources manager at Appetite for Change.

Laura Kincaid has been promoted to assistant editor at Holiday House, from editorial assistant.

Entangled Publishing has one promotion and one new hire. Elana Cohen has been named associate publisher of Entangled Teen and Little Lark; previously she was senior editor at Disney and Blizzard Entertainment. Stacy Cantor Abrams has been promoted to v-p of operations and editor-at-large, from editorial director of Entangled Teen and Little Lark.

At Chronicle Books, Emma Hill has been promoted to children’s marketing coordinator, from assistant in sales and marketing.

Cecilia Yung, longtime art director of Putnam Books for Young Readers and Nancy Paulsen Books, will retire in September. Yung joined Putnam in 1994; artists she has worked with include Eric Carle, Tomie dePaola, Maira Kalman, Ted Lewin, Wendell Minor, Jerry Pinkney, Peggy Rathmann, Simms Taback, and Ed Young. Books she art directed have won many awards, including the Caldecott Medal and several Caldecott Honors.

Penguin Young Readers has two promotions. Jim Hoover has been promoted to senior art director at Viking Children’s Books/Philomel/Flamingo Books, from art director. Madison Penico has been promoted to assistant managing editor, from managing editorial assistant.

HarperCollins Children’s Books has two promotions. Stephanie Macy has been promoted to manager, conferences and conventions, from marketing associate. Samantha Ruth Brown has been promoted to senior publicist, from publicist.

Random House Children’s Books has several promotions. Mary McCue has been promoted to executive director, publicity and strategic communications, from senior director. Jennifer Moreno has been promoted to assistant director, production, from senior production manager. Maggie Gibson has been promoted to associate manager, production, from production supervisor. Tricia Lin has been promoted to senior editor at Random House Books for Young Readers, from editor. Megan Mitchell has been promoted to marketing manager, from associate manager. David Gilmore has been promoted to senior marketing associate, from marketing associate. Madison Furr has been promoted to senior publicist, from publicist. Sarah Lawrenson has been promoted to associate publicist, from publicity assistant.

At Candlewick Press, Katherine Codega has moved into the role of art coordination associate/ contracts and illustrator liaison; previously she was sales administration supervisor.

As the post-Twitter social world (or post-social media world?) has fractured into a dizzying array of competing platforms, Colossal has set up shop in several new spaces. You can now find us sharing daily art and visual culture updates on the new Threads platform, as well as Mastodon. We’re also on Bluesky, which is still in a closed beta, so you may have to wait a bit longer to start skeeting with us.

As always, we think the best way to follow is through our regularly published newsletters.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article You Can Now Follow Colossal on Threads, Bluesky, and Mastodon appeared first on Colossal.

In 1981, the emergency room at St. Vincent’s Hospital in Manhattan began to see an influx of young gay and bisexual men with startling weight loss, pneumonia, rare infections, and compromised immunity. Two years later, the HIV virus was identified as the cause of AIDS, which quickly reached epidemic proportions, and St. Vincent’s opened the first—and largest—AIDS ward on the East Coast.

In 2016, a public park became the home to the New York City AIDS Memorial, honoring the more than 100,000 residents who died of the disease, as well as those who lobbied for medical research and access to drugs and fought discrimination against the LGBTQ+ community. Marking a continuation of the memorial’s public art program, a new sculpture by Jim Hodges is both a heartfelt ode to a young New Yorker who succumbed to the illness and an invitation to consider complex histories and personal and collective memories.

“Craig’s closet,” a granite and bronze work that stands like a monolith in the middle of the park, considers the personal, metaphorical, and physical significance of the ubiquitous storage space. It is an exact replica of the bedroom closet belonging to musician Craig Ducote, who shared a home with Hodges until he passed away in 2016. T-shirts and jackets hang neatly next to a stack of drawers, a cane, various containers, and knick-knacks. While the piece references the artist’s personal relationship and memories, the simultaneous universality and specificity of a wardrobe, or objects accumulated over time, speaks to the shared experience of loss.

“Craigs closet” is on view through May 2024, and you can find more on Hodges’ website.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article A Granite Replica of a Bedroom Closet Honors Personal and Collective Memories in New York City AIDS Memorial Park appeared first on Colossal.

Tauba Auerbach (previously) wants “to be somewhere that isn’t a hard edge,” within a space that mimics the instability of “The Wave Organ.” Embedded within a jetty of the San Francisco Bay, the sculpture was created by Peter Richards and George Gonzalez in 1986 and captures the sounds of waves as they crash into and fill the pipes, emitting a musical mix of gurgling and gushing noises as the tide changes. The work is designed to highlight the acoustic irregularities of Earth’s elements and is also one of Auerbach’s favorite locations in their native San Francisco.

In a new episode of Art21’s 11th season, “Bodies of Knowledge,” which premiered in late June, Auerbach visits the instrument and explains their interest in natural patterns and processes, physics, and mathematic principles. They harbor a profound curiosity and desire to understand the complex systems that undergird life, many of which they interpret as swirling marbled paper, spontaneous tessellated drawings in marker, and writhing beaded sculptures that evoke biological forms like the rigid composition of a sea sponge.

Auerbach’s New York studio is brimming with these translations, and shelves lining the space are filled with puzzles, organic matter, and small treasures that inspire the artist’s works. They’re interested in how these structures and systems are not just the basis of life on Earth but also of craft and artistic traditions. For Auerbach, research into how pigments rest atop water or how variances in the velocity of the artist’s hand affects a painting is as important as the work itself. “I am quite compelled by things that just barely work. The near–impossibility is key,” they say.

After surveying the artist’s broad and diverse practice, the segment closes with “Auerglass,” an interactive organ-like instrument Auerbach created in collaboration with their friend and musician Cameron Mesirow. Made of glass and wood, the apparatus functions with pedals, keys, and pipes like the traditional design, although it requires two players. Each person has only half a keyboard—four octaves have been divided by alternating notes—and is required to pump air for the other. Physically engaging and rooted in the principles of sound, “Auerglass” is evidence of the artist’s interest in the experiential, connection, and the understanding that “the body is an important thinking tool.”

Auerbach will open a solo show titled TIDE on July 15 at Fridericianum in Kassel, Germany. That exhibition runs through January 14, 2024, and you can find more of their work on their site and Instagram. You also might enjoy earlier Art21 episodes on Wangechi Mutu and Guadalupe Maravilla.

Auerbach at “The Wave Organ” in San Francisco

Auerbach in their studio

Cameron Mesirow (left) and Auerbach (right) play “Auerglass”

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