With her Puff (2019-now), she found a motif in the class-transcending garment of the puffer jacket and turned it into a sculptural reference covered in high gloss. The reflective nature of the high-gloss adds a layer by allowing viewers to view their distorted and stretched reflections. Much like in Puff, Warp also takes on the everyday mirror and turns it into a reflective surface which shoots back up to twelve different reflections of ourselves - our twelve avatars. She understands this as an invitation to reflect on our contemporary selves and how we often project different versions of ourselves onto the world depending on the context.
Much like in Puff, the disfigurement of the body through the reflection of the design is also present in Warp. This constitutes the red thread of her body of work, in which viewers are faced with elongated, minimized, and curved versions of themselves.