J O U R N A L
These texts were written from the studio, between two pieces, sometimes while a surface was drying. They follow thought wherever it goes, without trying to organise it. Some speak of material, others of form, others of what you only understand by doing. None truly concludes.
I. Pyrite, or perfection as accident
It all began with an astonishment before the precision of a mineral.
II. Why make rather than say
It is not what nature produces that interests me, it is why it produces it so.
III. Reading Nature like an architect
" The mind anticipates. The hand discovers."
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Form does not demonstrate, it presents. That difference justifies everything.
IV. What void does to a form
Deciding the height of a tabletop is deciding the posture of the person who sits at it.
V. Scale, or the body as measure
VI. Design is not decoration. It is a decision
At large scale: how does a form occupy the world? At the scale of the gaze: how does it enter a life?
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The void is not what surrounds the form, it is conceived at the same time.
VII. What design owes to sculpture
The mind anticipates. The hand discovers. What craftsmen know, no thought can replace.
VIII. Constraint as condition
IX. Transmitting
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I have never considered constraint as an obstacle. It has always been the starting point.
The boundary between art and design does not exist in form.
X. Living with
A strong object changes what you see, not immediately, over time.
XI. hapax The object that can only belong to you
Not simply bespoke. Something else. An object conceived from what only you carry.
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XII. Black
Black was never a choice. It was self-evident.
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