KAHRI ADVENTURES

There’s something especially magical about drawing people and their pets in real time—quick, imperfect, full of personality—and that energy was on full display at my recent Doodle Booth pop-up at Gone to the Dogs in Park Slope Brooklyn.

This event was part of Made in NYC Week, a citywide celebration of local makers, artists, and small businesses. It felt like the perfect setting: a neighborhood pet shop filled with regulars, curious passersby, and, of course, lots of very good dogs.

The Setup

I brought my Doodle Booth setup to the shop—simple, compact, and designed to feel approachable. The idea is always the same: take a picture, shop while your doodle is being created, and leave with a one-of-a-kind drawing that captures a moment.

Being inside a pet shop added a whole new layer. Instead of just people, I was sketching wagging tails, tilted heads, and the occasional very wiggly subject. There’s no controlling a dog mid-doodle, which honestly makes the drawings even better.

The Drawings

Each piece is done quickly—loose lines, a little bit of exaggeration, and just enough detail to make it feel like them. The goal isn’t perfection; it’s personality.

Some dogs sat proudly like they knew they were being immortalized.A few required their humans to hold them still just long enough for me to get the key shapes down. Every single one had its own energy, and that’s what makes the Doodle Booth so fun.

The Crowd

Park Slope showed up exactly how you’d expect: friendly, engaged, and very into their pets. People stopped in while running errands, others came specifically for the event, and some just wandered in and decided on the spot they needed a doodle.

One of my favorite parts of these pop-ups is watching people react when they see their finished piece. There’s always a moment of recognition—like, yes, that’s my dog—even in the simplest lines.

Why Events Like This Matter

Made in NYC Week is all about highlighting local creativity, and events like this remind me why I love doing what I do. It’s not just about selling artwork—it’s about creating something on the spot, connecting with people, and making something they’ll keep.

Pop-ups like this are also a chance to experiment, meet new audiences, and bring the Doodle Booth into spaces where it naturally fits. A pet shop? Honestly, it might be one of my favorite settings yet.

What’s Next

I’ll definitely be bringing the Doodle Booth to more unexpected places like this. If you missed this one, don’t worry—there are always more pop-ups coming.

And if you have a dog… just know they probably belong in a doodle.

This new collection is made up of eight 18x24 original watercolor paintings—each one built from some of my best-selling prints, but completely reworked into something more layered, more tactile, and more singular.

The starting point was familiar: images that already had a life of their own in print form, already circulating, already recognized. Instead of simply scaling them up, I treated them as raw material. Each piece was rebuilt by hand, allowing space for new details, shifts in composition, and subtle changes in narrative that make every painting distinct from its source.

What emerged is a group of works that are related, but not repetitive. They share a visual language, but each one pushes in its own direction—different emotional tones, altered focal points, new symbolic elements that didn’t exist in the original versions.

A defining layer of this collection is the hand-embellished glitter detailing. Rather than acting as decoration, the glitter functions almost like light within the paintings—highlighting certain areas, interrupting others, and adding a physical presence that changes depending on how the work is viewed. It’s intentionally uneven, never uniform, and always applied by hand, so no two surfaces behave the same way.

At this scale—18x24—the paintings hold enough space for detail without losing immediacy. They’re meant to feel like originals first, even if they originate from familiar imagery. The goal wasn’t to “upgrade” the prints, but to transform them into standalone collector pieces with their own internal logic and physical presence.

Together, the eight works form a small but intentional group: connected through origin, separated through execution. They sit in conversation with each other, but each one holds its own identity.

This collection is about translation—taking something widely seen and reworking it into something slower, more deliberate, and materially present. The kind of work that rewards closer looking, where the surface reveals more the longer you spend with it.

Tokyo always feels like it’s operating on its own frequency—hyper-detailed, fast-moving, but somehow still calm in the middle of all that intensity. This trip was a mix of live sketching at Tokyo Fashion Week, wandering through neighborhoods, and eating what can only be described as an unreasonable amount of good food.

Live sketching at Tokyo Fashion Week

The main anchor of the trip was working during Tokyo Fashion Week. Setting up my live sketching in that context felt both structured and completely unpredictable in the best way.

People in Tokyo bring a different kind of attention to detail—how they dress, how they present themselves, how they sit for a portrait. There’s a quiet intentionality to it. My illustrations translated into something more restrained and graphic here, less chaotic line work and more focus on silhouette, expression, and fashion as identity.

What stood out most was how seriously people engaged with the process without it ever feeling heavy. There’s a respect for craft that makes even quick sketches feel like they matter in the moment.

Walking the city between drawings

Outside of shows, I spent most of my time moving through the city on foot, drifting between neighborhoods like Shibuya and Harajuku, where the street style alone feels like a constantly shifting visual reference library.

Shibuya was all motion—crossings, screens, reflections, crowds dissolving and re-forming every few seconds. Harajuku felt more curated but still playful, like everyone is participating in their own visual experiment.

Later, I spent time in Ginza, which has a completely different pace—clean lines, quieter streets, and a more architectural sense of luxury. It’s the kind of contrast that makes Tokyo feel endless without being chaotic.

Food as its own itinerary

A big part of the trip was basically planned by appetite.

Late nights meant ramen—steaming bowls, minimal conversation, just focus and warmth. Daytime was everything from convenience store snacks that are somehow better than they have any right to be, to sit-down meals that felt like tiny ceremonies.

Every meal felt intentional, even the spontaneous ones. There’s a precision to the way food is prepared in Tokyo that mirrors the city itself—nothing feels accidental, even when it’s casual.

Sketching the city, not just the runway

What I liked most about this trip is that the sketching didn’t stop at fashion week. The whole city became part of the visual field. People on trains, storefronts, small gestures, the way fabric moves in wind tunnels between buildings—it all fed back into the work.

By the end of the trip, my sketchbook didn’t feel like documentation of one event. It felt like a layered response to the city itself: fashion week, street life, food culture, and all the in-between moments that don’t announce themselves as important but end up shaping the experience anyway.

Tokyo doesn’t really ask to be interpreted. It just keeps moving. The sketches are just me trying to keep up.

Valentine’s Day at New York Fashion Week always has a certain kind of energy—part fashion, part frenzy, part glitter-coated chaos. This year, I brought my doodle booth to the Gen Art NYFW presentation on February 14th, and it turned into one of those rare setups where everything felt aligned: the crowd, the moment, and the work.

My doodle booth is simple in concept but unpredictable in execution. People sit down, I draw them in real time, and what comes out is a mix of portrait, character study, and instinct. There’s no overthinking—just responding. At fashion week, that immediacy fits right in.

What made this one different was the Valentine’s Day layer. Some guests came in couples, some solo, some somewhere in between. A few asked for romanticized versions of themselves; others wanted exaggerated fashion sketches, almost like editorial characters pulled out of their own imagined magazine spreads. I leaned into all of it.

The booth became less of a “station” and more of a small performance space. People weren’t just getting drawn—they were watching themselves become interpreted in real time. That always changes the tone of things. There’s a vulnerability to it, but also a kind of playfulness that Fashion Week can sometimes lose under its own polish.

Between sketches, I kept noticing how quickly people shifted once they saw the drawing taking shape. At first: curiosity. Then: amusement. Then that moment of recognition—oh, that’s me, but also not exactly me. That in-between space is what I like most.

Being part of New York Fashion Week through Gen Art’s programming always feels like a collision between worlds—fine art, fashion, performance, and street-level interaction. This booth leaned fully into that overlap. It wasn’t about finished perfection; it was about immediacy, reaction, and letting the drawing absorb the energy of the room.

Valentine’s Day made everything a little more open. People were more willing to be seen, to be playful, to lean into the idea of being interpreted by someone else. There were laughs, a few surprised silences, and a lot of “wait, can I post this right now?”

By the end of the day, the table was covered in sketches, paper edges curling slightly from handling and time. My hand was tired in that good way—the kind that comes from not stopping to second-guess anything.

Events like this remind me that drawing doesn’t have to live quietly on a wall. It can be social, reactive, temporary, and still meaningful. Especially in a setting like Fashion Week, where everything is about presentation, the doodle booth offers something slightly off-script: a moment that’s personal, a little messy, and completely unrepeatable.

And maybe that’s the point.

Palm Beach has a way of making everything feel cinematic—especially when experienced through digital ink and watercolor. This recent trip was part research, part inspiration, and part exploration of how illustration can live naturally within Palm Beach’s most iconic environments.

Two landmarks anchored the sketching portion of my visit: The Colony Hotel and The Breakers—properties that are as visually distinctive as they are culturally enduring. Both hotels embody a rare balance of heritage, confidence, and personality, making them natural subjects for my work.

Illustrating The Colony Hotel

The Colony’s unmistakable pink façade and graphic sensibility feel inherently illustrative. While sketching, I focused on capturing the spirit of the property rather than literal detail—the sense of arrival, the playful elegance, and the way the hotel functions as both a destination and a visual signature of Palm Beach. It’s the kind of place where art, design, and atmosphere feel intentionally intertwined.

The Breakers: Timeless Grandeur, Reimagined

Illustrating The Breakers offered a different but equally compelling challenge. Its architecture speaks to tradition and scale, yet the experience remains warm, inviting, and alive. Through line work and restrained color, I explored how illustration can interpret that grandeur while still feeling contemporary—an approach that complements the hotel’s ability to honor history while remaining relevant.

Mini Fancy Flamingo Makes an Appearance

Traveling with me was Mini Fancy Flamingo, a recurring character in my work and a playful counterpoint to Palm Beach’s polished elegance. She made many appearances on the island - proof that even the most refined settings can welcome a sense of whimsy and personality. In many ways, she reflects the lighthearted confidence that defines Palm Beach itself.

Art Palm Beach: Context & Inspiration

A visit to Art Palm Beach provided valuable context for the region’s art and collecting culture. The fair reinforced how much Palm Beach values work that is visually confident, thoughtfully executed, and distinct. It was a reminder that illustration—when treated as fine art and design—has a meaningful place within this ecosystem.

A Natural Creative Alignment

Palm Beach is more than a backdrop; it’s a visual language built on color, tradition, and individuality. Creating illustrations inspired by The Colony Hotel and The Breakers felt less like interpretation and more like alignment. These properties already speak fluently in design and storytelling—illustration simply becomes another way to extend that conversation.

This trip marked the beginning of a Palm Beach–inspired body of work, with future pieces continuing to explore how art can live within iconic spaces—on paper, in products, and potentially within the environments that inspired them.

More to come.

This week marked a big milestone for me: my very first official doodle booth event — and I couldn’t have asked for a better introduction than Brandsway Creative’s Sweet 16 celebration at The Stand.

From the moment I arrived, the energy in the room felt special. The Stand’s iconic setting paired with a packed guest list made it clear this wasn’t just another party — it was a celebration of creativity, longevity, and community. Being invited to bring my doodle booth into that space felt both surreal and incredibly affirming.

What is a doodle booth?

For anyone new here, my doodle booth is a live illustration experience where guests receive quick, hand-drawn doodle portraits in real time. It’s interactive, personal, and meant to be fun — a little keepsake people can take home that captures the vibe of the night.

The experience

Once I started drawing, everything clicked.

Guests gathered around the table, watching their portraits come to life in just a few minutes. Some laughed, some posed dramatically, some came back with friends saying, “You have to get one too.” That moment — when people are genuinely excited to participate — is exactly why I wanted to bring this concept into events.

What surprised me most was how naturally the doodle booth became part of the party. It wasn’t just an activity on the side; it turned into a conversation starter, a memory-maker, and a steady flow of smiling faces throughout the night.

Why this event mattered

Being part of Brandsway Creative’s Sweet 16 felt especially meaningful. Brandsway is all about bold ideas and creative expression, and having my work included in that celebration made the night feel like a true collaboration rather than just a booking.

It also confirmed something important for me: live illustration belongs in event spaces. Whether it’s a brand celebration, fashion event, or private party, there’s something powerful about watching art happen in real time.

Looking ahead

This event was just the beginning.

The doodle booth is something I’m incredibly excited to continue growing — bringing it to more brand activations, creative events, and celebrations where people want an experience that feels personal and memorable.

Huge thank you to Brandsway Creative for trusting me with their Sweet 16 celebration, and to everyone who stopped by the table, posed for a doodle, and supported this new chapter.

If you’re interested in booking the doodle booth for an upcoming event, feel free to reach out — I’d love to draw with you.

This past holiday season, I took on one of the most challenging and rewarding experiences of my career: selling my artwork simultaneously at both the Union Square Holiday Market and the Herald Square Holiday Market in New York City—two iconic outdoor markets created and produced by Urbanspace.

Running two outdoor holiday markets at the same time is not for the faint of heart. It meant long days, early mornings, late nights, and learning to pace myself while giving each customer the same care and attention. Union Square and Herald Square are two of the most iconic holiday markets in the city, each with its own rhythm, energy, and crowd—and being part of both was an incredible opportunity.

Throughout the season, I met local New Yorkers who make these markets part of their annual tradition, as well as tourists from around the world experiencing NYC during the holidays. Some visitors were searching for meaningful gifts to take home, others stumbled upon my booth unexpectedly and connected with a piece in a quiet, personal way. Knowing my artwork traveled home with people from so many different places made the experience even more special.

Of course, selling at outdoor holiday markets in New York City comes with its own set of challenges. There were freezing temperatures, snowy days, numb fingers, and hours spent bundled up behind the booth. There were moments when the cold felt relentless—but the warmth of human connection always cut through it. Conversations with customers, kind words, laughter, and the excitement of someone finding the perfect piece made every cold day worth it.

Braving the elements became part of the story. The snow-dusted stalls, twinkling lights, and bustling sidewalks created a backdrop that felt undeniably magical. Despite the exhaustion, there was a deep sense of gratitude in being able to show up day after day, sharing my work in the middle of one of the most vibrant cities in the world.

Selling at both the Union Square and Herald Square Holiday Markets at the same time pushed me creatively, physically, and emotionally—but it also reminded me why I do what I do. Art has a way of connecting people, even on the coldest days, and this season was a powerful reminder of that.

To everyone who stopped by my booths—whether you’re a local New Yorker or a visitor taking a piece of NYC home with you—thank you. Your support, curiosity, and encouragement made this unforgettable holiday season possible.

Being chosen to be part of the Grand Central Holiday Fair was an incredible honor—one that still feels surreal. Set inside one of New York City’s most iconic landmarks, the fair brings together a curated group of artists and makers during the most magical time of the year. To be included among them was both humbling and deeply meaningful.

Throughout the holiday season, I had the opportunity to share my artwork with customers from New York City and from all over the world. Grand Central Terminal is a true crossroads—locals passing through on their daily commute, holiday shoppers exploring the city, and international visitors experiencing NYC for the first time. Each day brought new conversations, stories, and connections, all centered around art.

Seeing people discover my work in such a historic setting was unforgettable. Many guests were drawn in while on their way to catch a train, only to pause, explore, and leave with a piece of original art or a print to take home. Others intentionally returned with friends or family, sharing why a particular piece resonated with them. Knowing my artwork is now living in homes across the country—and across the globe—is something I’ll always cherish.

The energy of the Grand Central Holiday Fair is unlike any other. Surrounded by the grandeur of the terminal, the festive buzz of the season, and a community of talented creatives, the experience felt both exhilarating and grounding. It was a reminder of why I create: to connect, to tell stories visually, and to make something that people carry with them long after the moment has passed.

I’m incredibly grateful to the organizers of the Grand Central Holiday Fair for selecting me, and to every person who stopped by my booth—whether you became a collector, shared kind words, or simply took a moment to look. Your support made this experience truly special.

Being part of the Grand Central Holiday Fair wasn’t just a milestone in my career; it was a celebration of art, place, and human connection during the most meaningful season of the year. I’m so thankful to have been part of it, and I look forward to what’s next.

There’s something truly special about creating art in a space where fashion, history, and personal style converge—and The Vault by Sita 1910 Trunk Show at the iconic Beverly Hills Hotel was exactly that.

Set within the timeless elegance of the hotel, the event brought together luxury knitwear, denim, discerning clientele, and a celebration of craftsmanship. I had the pleasure of joining The Vault by Sita 1910 for an intimate live illustration experience, offering guests custom artwork created in real time.

Throughout the trunk show, I illustrated guests live on the iPad, capturing their likeness and personal style with expressive, fashion-forward line work. Watching each illustration come to life became part of the experience itself—guests gathered, shared reactions, and connected over the artistry happening right in front of them. Each illustration was printed to create a one-of-a-kind keepsake, blending technology with the timeless charm of hand-drawn art.

In addition to personalized portraits, I created custom illustrations on canvas totes from Citizens of Humanity and AGOLDE. These elevated everyday essentials transformed into wearable works of art, with each tote uniquely illustrated for its owner. The combination of premium denim brands and bespoke artwork added a meaningful, personal layer to the shopping experience—luxury made intimate.

The atmosphere of the Beverly Hills Hotel provided the perfect backdrop: palm-lined views, classic interiors, and an effortless sense of old-Hollywood glamour. Paired with The Vault by Sita 1910’s expertly curated selection, the event felt both exclusive and inviting—an ideal setting for live art and meaningful customer interaction.

Live illustration events like this are about more than customization; they create moments. They invite guests to slow down, engage, and leave with something that tells a story. Whether it’s a digital portrait or a hand-illustrated tote, each piece becomes a memory of where they were, how they felt, and the experience they shared.  I also created custom invitations, save the dates, and bag charms that were given in gift bags to clients.

I’m incredibly grateful to The Vault by Sita 1910 for the opportunity to be part of such a thoughtfully curated trunk show, and to everyone who stopped by to be illustrated. Events like these continue to remind me why I love bringing art into fashion spaces—where individuality, creativity, and connection take center stage.

If you’re interested in live illustration for your next event, trunk show, or brand activation, I’d love to create something memorable together.

One of the most exciting parts of my work is collaborating with creative visionaries across fashion, beauty, and entertainment. When makeup artist, TV personality, and author Jay Manuel launched his makeup collection, I had the incredible honor of creating a custom illustration and doll to celebrate the event.

Jay has always been known for his impeccable style, artistic vision, and striking silver hair—making him the perfect muse. I began the project with a fashion illustration that captured his sleek, polished look. The drawing highlighted his signature tailored suit and bold, confident energy, which perfectly mirrors the sophistication of his makeup line.

Bringing the illustration into 3D form, I designed a custom KAHRI doll of Jay Manuel. Printed with eco-friendly inks on cotton/linen fabric and handmade in NYC, the doll was created with meticulous detail—from his silver hair to his sharp ensemble—making it instantly recognizable.

The doll and illustration became a unique centerpiece at Jay’s makeup launch event, adding a playful yet stylish touch that celebrated his artistry in a fresh new way. Guests loved seeing him reimagined as a doll, and it sparked lots of smiles and conversations throughout the night.  The dolls were given to guests in the swag bags.

This collaboration was such a joy because it celebrated not just beauty and fashion, but also individuality and creativity—the very things Jay’s brand embodies. 

Initially, I was asked to create custom a custom illustration and doll of Jay Manuel and his friend Iman, and David Miskin.  Then I was asked to be a part of his makeup launch event.

I love when my art connects with groundbreaking projects like this one, and I can’t wait to continue creating custom illustrations and dolls that bring personalities and brands to life.