Shay Eyal arrived at Mixtiles as employee number 21. Years later, she was running it. Between those two positions sits a less tidy story than the usual promotion announcement: television advertising, a new plant business, operational responsibility, and the work of making several different products belong to the same company. A photograph can be hung in seconds. Building the business behind it takes rather longer.
Her career offers a useful way into a company whose products are designed to make domestic ambition feel manageable. The customer wants a wall of family pictures. The customer would prefer to avoid a Saturday spent negotiating with a drill. Mixtiles sells an easier route between those two desires. Eyal’s work has extended that proposition beyond the wall, into plants and lighting.
There is something pleasingly practical about this territory. A home is full of small decisions that become larger when postponed. Which picture? Which frame? Where should it go? Will the plant survive our enthusiasm? Consumer technology earns its place here by making an ordinary task easier to finish. Eyal has built her career inside that meeting of software, physical objects, and human hesitation.
A job with room around the edges
Before Mixtiles, Eyal worked at Keshet Media Group. Her public career history records partnerships and marketing there, followed by marketing and chief-of-staff work at Mixtiles from 2019. That starting point matters. Her route into leadership began with audiences and execution, rather than with a founding title. Mixtiles was already under way when she joined.
David Katz and Eytan Levit had started the company in 2016 around the gap between digital photographs and physical display. On a phone, a gallery was easy. On a wall, it required cropping, printing, framing, and hanging. The company set about simplifying the whole sequence. A customer’s photograph remained the point; the surrounding chores became the product problem.
Eyal first became interested after hearing the founders’ earlier podcast. There was initially no suitable opening. A recruiter remembered her when a chief-of-staff position emerged, and a coffee meeting followed. Neither she nor Levit had previously occupied their respective sides of that particular hiring arrangement. The role was still taking shape.
The interview included a question about her favourite character in Friends. Levit’s preferred answer was Monica. As a recruitment instrument, a sitcom preference has limitations. As an anecdote about an early company trying to recognise someone it wanted to work with, it has charm. Even a business that removes nails from home decoration apparently retains room for an eccentric interview question.
The more substantial part came afterward. Eyal’s responsibilities crossed functions. Her career history lists vice president of business operations from 2022, general manager from 2024, and CEO from March 2025. Read together, those positions show a widening remit: from helping work move through the company to taking responsibility for the company itself.
Pictures, plants, and American television
By November 2021, Eyal was leading two substantial initiatives: the launch of smart plants and the company’s American television advertising. Those assignments put her close to both sides of a consumer business. One concerned what people could buy. The other concerned how enough people would hear about it.
Television is a revealing detail in a story about an internet company. A product may be ordered on a phone and still need to be explained in someone’s living room. Advertising has to make the benefit legible before the audience moves on. For a physical product, that often means showing the action: putting the photograph up, opening the reservoir, seeing what changes.
The smart-plant business became easyplant. Its central proposition is straightforward: a plant arrives with a self-watering pot, and the owner fills a reservoir on a much less frequent schedule than conventional watering. The company markets a monthly refill routine. The attraction is easy to understand, especially for anyone whose collection of pots has outlasted its collection of plants.
A framed photograph and a living plant bring different operational demands. A photograph can be reproduced. A plant has to be grown, selected, packed, and delivered. Their connection lies in the customer’s intention to improve a room without becoming an expert in every activity involved. That is a useful lens for Eyal’s expanding responsibilities, although it should not erase the distinct work each product requires.
In a 2023 account of an easyplant television campaign, creative collaborator Moshe Saraf described testing different actors and concepts. He also singled Eyal out for getting him to listen to colleague Idan Epstein’s criticism of the script. The finished advertisement followed a production process with several named contributors, rather than a solitary burst of inspiration.
That small credit is more revealing than a large adjective. Marketing involves attachment: to a line, an idea, a performance, a version that already consumed time and effort. Someone must make it possible to question the work while the work can still change. Here, Eyal appears at that junction, ensuring a criticism reaches the person who can act on it.
“For making me listen to Idan.”
Moshe Saraf’s campaign credit to Shay Eyal, 2023
It is an amusingly economical description of management. No grand speech is required. The script gets another hearing. The collaborator acknowledges it. The advertisement goes out. For an executive whose career traverses marketing and operations, this is a concrete example of the connective work that formal titles tend to compress.
The room gets bigger
As CEO, Eyal leads a business with several ways into the home. Mixtiles handles photographs and wall art. easyplant brings greenery. Oasis offers lighting, including ambient lamps and bulbs, with warmer tones in the evening and simple controls. The objects differ; the setting stays familiar. Each arrives in a room where people already have habits, furniture, and limited patience.
The company also describes a history of experimentation with home-design technology, including Around, an extended-reality design application. Its public description brings together software engineering, generative AI, industrial design, marketing, and manufacturing. For Eyal, the leadership problem therefore spans disciplines that work on different clocks: a software update, an advertising test, and a physical shipment.
A consumer can forgive some complication when the result is compelling. But every extra decision asks for another piece of attention. The practical appeal of this product family lies in its effort to reduce those decisions. A wall can be rearranged. A pot can handle part of the watering routine. A lamp can change the atmosphere without requiring a lesson in lighting design.
Photos and art, designed for easy hanging.
Plants paired with self-watering pots.
Ambient lamps and adaptive bulbs.
The scale behind those small conveniences is substantial. A payments case study records approximately 12 million Mixtiles orders in 2023 and eight facilities serving its customers. Those are company figures, rather than a measure of Eyal’s individual contribution. They nevertheless help explain the operational territory through which she advanced before becoming CEO.
The same business tested changes to checkout rather than relying entirely on instinct. Offering buy-now-pay-later options to a portion of customers produced a reported 4.1 percent increase in revenue in the experiment. The example is unglamorous in a useful way. A home-decor company has to make the payment step work as carefully as the object that eventually reaches the home.
At this scale, convenience is assembled out of many decisions the customer never sees. The crop must be right. The order must go through. The parcel must arrive. The product must behave as promised. Eyal’s progression through business operations and general management places her story in that quieter territory, where growth creates more things that have to go right together.
A faster experiment, a longer ambition
In April 2026, Eyal discussed the company’s growth and its use of AI in a 49-minute conversation with Levit. The episode covered a business that had grown from roughly $40 million to around $300 million in revenue, alongside a team of about 100 people. These are figures discussed by company leadership, and belong to that account of the business.
A career that widened as the product portfolio grew.
Another topic was an AI-based product reported to have reached $10 million within three months. The episode description gives that milestone without defining the precise financial measure. It is best understood as a reported product milestone, rather than a basis for comparing audited performance or extrapolating what the next year will bring.
The more durable question is how quickly a company can move from an idea to something a customer values. Generative images and software tools can speed parts of that process. A framed print still has to be printed and shipped. In Eyal’s world, a digital experiment ultimately meets a physical object, a delivery, and a person deciding where to put it.
Her April conversation also addressed future public-market aspirations and the ambition to build a much larger home brand. That gives the next part of her career a different scale of responsibility. Expanding a portfolio means choosing which new ideas deserve the company’s resources, while continuing to deliver on the relatively simple promises that brought customers in.
Return to employee number 21. It is a memorable number because it makes the distance to CEO visible. Yet the interesting part is the work in between: introducing a new product, reaching an audience, getting a colleague to hear a better argument, and assuming responsibility for more of the operation. Eyal’s career has grown through those tasks. The company’s invitation to customers remains smaller and pleasantly tangible: make something of the room you already have.