I wanted to begin this week with an object that refuses to show itself — a mirror we only see from behind, its reflective surface hidden, turned toward dark water where it might reveal nothing or everything. The Nacre Tribunals emerged from this idea of judgment and inheritance colliding: a world where legal authority has literally drowned but its instruments persist. The Igbo-Dalmatian fusion felt essential — two cultures with profound relationships to justice, ornamentation, and coastal identity. The brass mirror will carry through the week, but here it begins as something guarded, faced away from us, intimate only to her.