Design.Junkie

Design.Junkie Curated Boho, Ethnic & Travel-inspired treasure from around the World. Rugs, Baskets, Cushions & E Rugs, Baskets, Cushions, Suzanis & Exotic Textiles.

Julieta Tello 🍃 Story-teller Decorator

Curator of Boho, Ethnic & Travel-inspired Treasures for Home Decor. Supporting Artisans in developing countries to Preserve & Revitalise their Textile Traditions. Design Junkie is a place where exquisite fabrics and exotic authentic materials from cultures around the world mingle. You will find old treasures with strong character & soul. Character is something we cherish dearly; in fabrics, textures and bold colours so expect to see visual explosions, expert craftsmanship and original designs from all corners of the globe. Visit our online shop http://design-junkie.com/

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14/10/2026

What if inspiration is found far beyond the studio?

Khiva, Uzbekistan. ❤️

I came here as an artist on a study trip focused on geometric patterns, drawing, painting and woodcarving.

But beyond the work, this journey has been about experiencing the culture, discovering its beauty and sharing unforgettable moments with an inspiring group of people.

From ancient architecture and traditional crafts to music, dancing and spontaneous moments of joy, Khiva has reminded me that inspiration can be found everywhere.

Leaving with a heart full of happiness, a mind full of ideas and memories I’ll carry with me.

11/10/2026

Bukhara left me with more ideas than I know what to do with.

I still feel strangely uncomfortable calling myself an artist, and yet this place has filled my head with possibilities — for the work I’m already making, and perhaps for whatever comes next.

The days here have been intense in the best way: learning to draw geometric patterns, looking closely at architecture and textiles, absorbing history and culture, walking, listening, sketching, talking, and somehow trying to take it all in before starting again the next morning.

There are around 25 of us on this study trip, coming from different parts of the world, each noticing something different. Being surrounded by that much curiosity and creative energy has been inspiring in itself.

I don’t quite know yet where all of this will land in the work — but I already know I want to make something from it.

Tutor

Creatives new friends ❤️
.fulton.studio .84 .bryner

06/10/2026

Two days into an artist study trip in Uzbekistan, and I already feel completely immersed.

I came here to study — to draw, observe and learn from a visual culture that feels very different from anything I’ve experienced closely before.

Our mornings in Samarkand have been spent drawing geometric patterns in the courtyard of a beautiful old heritage house, surrounded by a group of 25 people from different countries, cultures and creative disciplines. Artists, designers, makers… and the conversations have been almost as inspiring as the classes themselves.

Then we go out and see these patterns at an entirely different scale.

The blues, turquoise and greens. The cream and yellow details. The mosaics. The extraordinary scale of the architecture.

Seeing the three madrasahs of Registan, Bibi-Khanym Mosque and Shah-i-Zinda after spending the morning drawing geometry makes you look at everything differently.

I don’t know yet exactly how all of this will find its way into my work — and I actually like not knowing.

I’m here to learn, to look more carefully, and hopefully to become a better artist because of it.

And we’re only at the beginning. ❤️

02/10/2026

This work isn’t finished yet.

I’m still building Field Record 05, one of the new pieces from The Velarian Project.

This one is about balance — the way different parts of our lives pull, shift and sometimes fall out of harmony, and how we keep trying to return to centre.

The blue forms, the geometry, the flower, the eyes that are still missing… they are all slowly becoming part of that idea.

I shared much more of the process, the meaning behind the work and how the piece is evolving in my latest carousel.

If you want to see the details, go back to the previous post.

For now, this is still very much in progress.

This one is still unfinished, and I’m already attached to it.I’ve been spending a lot of time lately moving between pain...
01/10/2026

This one is still unfinished, and I’m already attached to it.

I’ve been spending a lot of time lately moving between painting and writing — adding details to the work, then going back to the Field Records and the manifesto, trying to understand a civilisation that doesn’t exist anywhere except in my head yet.

That part is strange and exciting:

I’m inventing the world while also discovering it.

I’m showing more of the process than I thought I would, but I’m still resisting the clean, finished reveal.

I want the collection to have enough pieces that the world starts to make sense as a whole.

The plan is 8–10 works before I properly present them.

We’ll see if my patience lasts that long.

For now, you get fragments.

❤️ with love, Julieta

These flowers keep finding their way into my paintings. 🙌I’m drawn to that strange space where botanical forms begin to ...
29/09/2026

These flowers keep finding their way into my paintings. 🙌

I’m drawn to that strange space where botanical forms begin to feel almost bodily: petals, folds, openings and soft structures that seem familiar, but are impossible to name.

I usually don’t design them from a fixed idea. I start with shape, symmetry and colour, then let the form become more ambiguous as I paint.

For this one, colour came from an unexpected reference — soft pinks, corals, warm ochres and translucent layers that gradually became part flower, part organism.

They’re becoming part of the Velarian world too: not as decoration, but as living forms with their own presence.

I like not knowing exactly what they are.

What do you see when you look at this one?

I don’t invent the Velarians from nothing. 😉I build them from fragments of the world we already know.I collect reference...
26/09/2026

I don’t invent the Velarians from nothing. 😉

I build them from fragments of the world we already know.

I collect references constantly — birds, fish skin, strange eyes, gestures, silhouettes, textures, old illustrations.

Then I layer, trace, combine and edit.

A head might begin with the profile of a hornbill or a raven.
A crest can grow from the logic of a comb, a feather or some strange organic shape.
Extra eyes shift the creature into something symbolic.
Fish scales soften the body into something luminous and unfamiliar.
And the anatomy only starts to work once I stop asking it to be completely logical.

That’s usually how a Velarian comes to life:
not in one perfect sketch, but through fragments, accidents and small decisions that slowly begin to belong together.

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