I'm back from Miami, and the overall experience was super inspiring and overwhelming at the same time. The exhibition is huge and takes place during Art Basel, so there's a lot of crossover with visitors between the two shows. On top of that, the city comes alive during Miami Art Week with Untitled on the beach, Alcova at the historic Miami River Inn, NADA, and so many other exhibits scattered around Miami.
Making my debut at Design Miami during this milestone 20th anniversary edition was truly an honor. Being included in the Design Miami 2.0 section, curated by Glenn Adamson, alongside other talented contemporary designers pushing the boundaries of collectible design made it feel even more special. The energy felt just as exciting as I've heard from previous years—maybe even more charged with the anniversary vibe. The number of visitors from all around the world was impressive, and there were always more events in one evening than humanly possible to attend.
Photo by Benedetto Rebeca
The Orbit Collection Unveiled
Among all that energy and activity, one moment clearly stood out. When the art handlers placed the artworks on the black platforms at the exhibition, it was my first time seeing all of them together in one space. I felt a rush of emotion—tears welled up—because it had been such a long, intensive process to bring them to this stage. It was truly magical to see something that started as a vision in dark meditation become a reality in this beautiful setting.
Once the fair opened, people really connected with the pieces in ways that moved me. Many of you who visited appreciated the intersecting orbital paths evoking planets encircling functional seating, reminding us of the vastness of the universe and cosmos that surrounds us every day. How people interacted with the work brought definite surprises. One person mentioned envisioning the circular forms like a halo around one's head, bringing out a clear spiritual dimension to the designs and how they originated from that meditative space.
Throughout the week, I had wonderful conversations with those of you who came by, especially collectors who deeply appreciated the message from the universe translated into these tangible, three-dimensional pieces. These interactions reinforced why this work matters and how it connects with people on different levels.
Photo by @jeannnes
Glenn Adamson's "Make. Believe." Theme in Action
Walking through the fair I saw how perfectly Glenn Adamson's "Make. Believe." theme captured what was happening across the entire exhibition. Creativity often starts in the imaginal realm, and the theme captured that perfectly. The magic of turning a dream-world idea into a physical object requires believing anything is possible. That theme—of creating through imagination—was alive everywhere in the exhibitions.
The curatorial vision really clicked in specific moments, especially in the Design Miami 2.0 section itself. The focus on experimental, forward-thinking work felt like a direct embodiment of turning bold imagination into crafted reality. Seeing booths with monumental bronze explorations or innovative material play really brought Glenn's vision home.
For my own work, the theme felt like a perfect fit. Ideas are often hard to articulate in words; the only way to communicate them is to Make. And that personal conviction to pursue an object through to completion—that's the Belief needed to bring it to life. Being in conversation with this theme encouraged me to lean even more into describing the meditative, intuitive origins of the Orbit pieces—how they emerge from believing in visions from the cosmos and then making them real through patient craftsmanship.
Standout Pieces and Artists
With that framework in mind, I found myself drawn to work that embodied similar acts of material faith and transformation. The large-scale glazed ceramic objects in one of the booths immediately took me aback—their sheer size and presence demanded attention. The monumental ceramic totems and animate forms stood out, like those with protective, guardian-like qualities. I also felt drawn to the sculptural white clay-like material animal forms with the fellow designer in my curated section. Some innovative carpet-based furniture that blurred lines between textile and structure caught my eye as well.
What resonated most was the large scale of the glazed ceramics and the forms that had an almost animate, living characteristic. The concept of totems acting as protectors for the space they occupy spoke to something deep in my own practice. These pieces made me think differently about what I could explore. The ceramic artists inspired me to revisit working with clay, resurrect my kiln, and explore firing and glazes more in furniture designs.
So many new designers and artists were discoveries. I prefer experiencing work without preconceptions or names attached, so I don't actively follow many—letting the pieces speak directly keeps my own ideas fresh. This approach led to unexpected moments of connection. The inventive use of everyday materials like carpet transformed into architectural furniture forms, or pearlized finishes and mineral-embedded stones, opened new ways of thinking about tactility and permanence.
Beyond the objects themselves, I had several chats with fellow exhibitors in the 2.0 section that sparked ideas about bridging craft traditions with speculative, futuristic concepts. These shared dialogues reminded me how valuable it is to connect with other makers who are exploring similar questions about material and form.
Takeaways and What's Next
Now that I'm back in San Francisco after this immersion, I'm bringing renewed urgency to dive into my next designs, which have been brewing for a while. Realizing how long creation takes, I need to start fresh in the studio and build toward the next chapter.
The fair reignited my interest in ceramics and glazes, and also in exploring varied patinas and larger-scale material experiments. Working with bronze on the Orbit Collection deepened my appreciation for what the material can do. I love the permanence and weight of bronze—it feels eternal. I'd like to experiment with different patinas for these pieces and future ones. This feels like just the beginning of what bronze can offer.
More broadly, the experience reaffirmed the importance of approaching everything with fresh eyes, without preconceived notions, to stay truly creative. I don't want to over-reference others' work, as it could influence my originality. Instead, I want future designs to emerge purely from my meditative space, channeling what the universe guides me to bring forth. The ceramic inspirations are already pulling me back to the kiln, and the overall energy around material permanence has me sketching evolutions of orbital forms.
Looking Forward
For those of you who came to see the Orbit Collection at Design Miami, thank you for connecting with the work. And for those following along from afar, this is only the beginning. Stay tuned, as the well of creativity runs deep.
Inquire About the Collection Follow @tinafreydesigns
Discover the Orbit Collection & Stay Connected
The Orbit Collection is available through our studio. Reach out for details if you're interested in acquiring a piece that translates the universe's message into tangible art.
Upcoming shows and new pieces will be announced soon, so follow along for new material explorations, evolutions in bronze and perhaps ceramics, and whatever emerges next from the meditative process. Exciting things are brewing!
Before I close, a huge thank you to Glenn Adamson for curating the Design Miami 2.0 section and including me—it was a true gift to debut during the fair's 20th anniversary.
Warmly,
Tina
