A London-based contemporary art studio exploring abstraction, material trace and the shifting relationship between form, light and perception.
Works
Abstract objects formed through sheet metal, hand-sanded surfaces and interlocking fragments.
These works translate conceptual research into physical form, exploring perception, imperfection, material trace and the relationship between part and whole.
Unity in Contrast
2026
Material: Stainless steel sheet metal
Surface: Hand-sanded finish
Dimensions: 15 × 15 × 20 cm
Unity in Contrast is an abstract sculptural object formed through the meeting of opposing metal fragments. One part appears upright, the other inverted; together, they create a composition built on tension, balance and coexistence.
The work reflects on the possibility of contrast becoming structure. Rather than treating difference as separation, the object suggests that opposing forms can hold each other, support each other and become part of a coherent whole.
Emerging from an earlier visual study, the piece translates a conceptual reflection on difference, judgement and inner contradiction into physical form. Its interlocking sheet metal construction points to the way separate positions, identities or forces can come together without losing their distinction.
The hand-sanded stainless steel surface carries subtle traces of making, allowing imperfection, contact and material presence to remain visible within the final form.
Neighborhood
2026
Material: Stainless steel sheet metal
Surface: Hand-sanded finish
Dimensions: 15 × 15 × 20 cm
Neighborhood is an abstract sculptural object inspired by the memory of architectural forms: steps, openings, passages, walls and small structures gathered into a compact composition.
The work suggests a place that feels familiar but cannot be fully located.
Through fragmented metal planes and interlocking parts, it creates the impression of a small constructed environment, somewhere between a structure, a settlement and an imagined neighbourhood.
Rather than representing architecture directly, the object reduces it into rhythm, scale and spatial perception. Its upward movement, layered forms and quiet openings invite the viewer to read the piece as a physical arrangement of memory, proximity and belonging.
The hand-sanded stainless steel surface carries visible traces of process, allowing material presence and imperfection to remain part of the final work.