Objects reduced to their quietest possible form. No ornament. No noise. Only proportion, shadow, and the space between things.
This collection began with a question: how much can be removed before an object stops being itself? Each piece is the answer found after dozens of subtractions — a vessel pared to a single sweeping curve, a tray that is mostly emptiness, an incense holder that is barely there at all.
A vase built from one continuous curve, refined through nineteen CAD revisions until the silhouette held a single stem without asking for attention. Matte white, 0.12 mm layers, sanded at the shoulder.
View the objectAn incense holder that is mostly absence — a low beam, a ring of shadow, a place for smoke to draw its own slow line through the room. The geometry is one extrusion and one boolean. It took a month to make it that simple.
View the objectA catch-all that imposes order by offering almost none: one plane, one fold, one shallow well for the thing you always lose. Designed to disappear into a desk and quietly run it.
View the objectForty silhouettes drawn over each other until one curve survived every overlay.
Every dimension is a parameter. The model was tuned numerically — radius by radius — in Fusion 360.
Draft prints on the workhorse machine; each generation thinner, lighter, quieter than the last.
Wet-sanded at 400 then 800 grit. Inspected in raking light, where nothing can hide.
Between the first sketch and the final vessel there were misprints, collapsed overhangs, and proportions that simply felt wrong in the hand.