For ten years, Liliam did not make jewelry.

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She kept the eye. She kept the instinct. But she no longer wanted to make pieces simply because they could be made.

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The return began with stones. Some had been sitting in her father's closet for years, remnants from a business he had long retired from. Others she had carried back from Brazil and India, packed away through years of moving between countries and homes. When she found them again, they did not feel like supplies. They felt like a reason to begin again, but differently.

The practice now moves between the United States, Brazil, and Japan. Three places that have shaped her material instincts, her sense of scale, and her relationship to craft heritage. She works in metal and ceramics: coiling, carving, casting. Raw edges alongside clean lines.

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The dialogue between refinement and imperfection is not a contradiction. It is the work.

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Jewelry is the first language of the practice. Objecthood is the larger question.

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