Making
From conception
to radiance
Each work begins as a tension — between order and chaos, between the mathematical and the felt. What follows is a process of translation: from an internal image to wood, nail, and light. The sequence is fixed; the decisions within it are not.
I. Conception
II. The Ground
III. The Layout
The work begins before any material is touched. An internal geometry takes shape — sometimes arriving fully formed, sometimes requiring iteration through drawing and digital study until the proportions feel inevitable. A wood round is selected, its grain and character considered.
The layout phase is where the work's character is set. Some pieces demand precision: compass arcs, measured intervals, a logic that could be notated. Others call for the opposite — a surrender to instinct, marks placed quickly, positions chosen by eye and feel. Both paths lead to the same nail.
IV. Painting & Aperture
V. Hammering
Painting precedes the nails — colour applied to a ground that will mostly disappear beneath shadow and steel, yet which lives in the spaces between. Where a central light source is part of the work, an aperture is drilled through: a hole that is both functional and formal, an eye at the centre of the geometry.
Then the nails. Each one placed according to the layout — but the act of hammering is physical, cumulative, meditative. Hundreds of decisions that are also a single continuous gesture. The surface slowly becomes a field, and the field begins to hold light.
Each piece is one of a kind, made by hand from start to finish. Wood is a living material — it has grain, history, opinion. Working with it honestly means accepting what it gives you. The small imperfections in every work are not accidents. They are the difference between something made and something manufactured.
A new series: addressable light
VI. Frame section — LED series
VII. Plan — LED series
A newer body of work departs from the central light source entirely. Here, individually addressable LED strips run along the interior of the frame, positioned a precise distance above the nail surface, their source hidden behind a continuous wood strip. Light grazes the nail field from the perimeter inward — raking across geometry rather than radiating through it. The effect is lateral, atmospheric. Shadow builds from the edge. These works also introduce the possibility of movement: the LEDs can be sequenced, their colour and intensity programmed, so that a static field becomes a living one. Each work in this series is unique — no two light sequences are identical, and no viewing is ever quite the same.
