Each time a project required a specific process, I learned it or acquired the tool rather than subcontracting it. What began as a way to keep costs low and control high gradually became something else: a space where processes that do not normally coexist in the same space end up producing results that could not have come from either one alone.

CNC milling and ceramic firing, letterpress and electronics, metalwork and resin casting… That cross-contamination between processes is where interesting decisions happen, enhancing the subtle details that give a project its character.

For commissions involving any type of development, this translates directly: a piece can move from concept to prototype to full-scale production without passing through a chain of third parties who have no relationship with the original intent. Fast and effective.

For clients working with interior designers or architects, it means the studio can engage in the conversation about space, material and what it needs to be, not just execute a specification.

The studio is built for large productions, but I run it as an artist: focused on experimentation and detail, not volume. Once a project scales into full production, I bring in specialized assistants for specific tasks to meet the schedule. This model provides the best of both worlds: the slow burn of hands-on research and development, and the precise, in-house capacity to take major projects from concept to completion.