Her SoHo loft is both residence and the New York outpost of JO-HS. Johs envisioned it as an exhale — a counterpoint to the city’s overstimulation. Light and quiet were her starting points, creating room for the works to breathe and for walls to invite pause. Rather than a showy gallery, the rhythm she sought was closer to a home: intimate, slow, and human.“I wanted the space to feel like an exhale — an antidote to the overstimulation of the city,” she says. “Rather than a showy gallery, I envisioned a rhythm closer to a home: intimate, slow, and human.”

Within the loft, the boundary between public and private almost dissolves. For Johs, inviting visitors into her home is an act of trust, and it is precisely this atmosphere that allows art to thrive. When a work is seen next to a book or a lamp, it enters a more vulnerable and intimate register.“When art is seen beside everyday objects, people notice different details, they relax. The intimacy adds meaning rather than diminishing it,” she explains.She regards furniture, books, lighting — even emptiness — as companions rather than mere arrangements. The loft thus becomes an ongoing experiment, with objects moved, removed, and allowed to breathe. For her, negative space is just as vital. “Negative space is what allows everything else to matter. It holds silence, anticipation, rest. Absence isn’t lack, but a form of presence in itself.”

As the founder of JO-HS, Johs aims to continue strengthening its role as a cultural bridge between New York and Mexico City while expanding into interdisciplinary projects. “My dream project is to create a site-specific exhibition that merges art, architecture, and design in an unconventional space — such as a historical landmark or a remote natural setting,” she says. “It would be a project that tells a powerful story while connecting people through shared experiences.”