While watching Del Toro’s adaptation of Frankenstein, I created my newest piece: a film still of Hanna Rovina in the film The Dybbuk from 1920 heat transferred onto cotton, veiled in tulle, and threaded with crimson silk veins. The heart — beaded in turquoise and silver — beats between devotion and invention. It’s my ode to del Toro’s world, where beauty and monstrosity coexist, stitched together by love.