The Process
How artifacts come to life
Observation
Every artifact begins with careful observation of daily life. I notice moments of friction, instances where existing objects fail to serve their purpose gracefully, or opportunities for quiet enhancement.
This phase can last weeks or months. I keep a notebook of observations, sketches, and questions. The best artifacts solve problems I didn't know I had until I solved them.
Contemplation
Ideas percolate in the background of consciousness. I don't rush to the workshop. Instead, I live with the problem, letting potential solutions emerge naturally through daily meditation and mindful activity.
The best solutions often arrive during unrelated activities—washing dishes, walking, or in the space between sleep and waking. I've learned to trust this process completely.
Material Selection
Each artifact demands specific materials. I source metals, woods, ceramics, and composites based not just on functional requirements but on how they want to be touched, their acoustic properties, and their aging characteristics.
I maintain relationships with small suppliers who understand quality over quantity. Some materials are selected months in advance and allowed to stabilize in the workshop environment.
Prototyping
The first physical manifestation is rarely the final form. I create rough prototypes to test proportions, weight distribution, and interaction patterns. This phase reveals what the concept wants to become.
Prototypes are often made from cardboard, clay, or scrap materials. The goal is to fail quickly and learn what works in three dimensions rather than just in imagination.
Refinement
Through multiple iterations, the form refines itself. Details emerge that weren't planned but feel inevitable once discovered. This is where the artifact begins to develop its own character.
I often create 5-10 iterations before arriving at the final design. Each iteration teaches something new about proportions, balance, or the nature of the intended interaction.
Focused Creation
When I begin creating the final series, I work on nothing else. Each piece receives undivided attention from start to finish. The workshop becomes a space of single-pointed concentration.
I can typically complete 2-3 artifacts per week, depending on complexity. Each piece is finished completely before beginning the next, maintaining the integrity of individual attention.
Quality Assurance
Every artifact undergoes rigorous testing for both function and durability. I use each piece personally for several days, noting any adjustments needed. Only artifacts that meet my personal standards are offered.
This phase occasionally results in pieces being rejected after completion. Quality is never compromised for the sake of meeting edition sizes or timelines.
Documentation
Each artifact is photographed, numbered, and documented with its creation story. This record becomes part of the artifact's provenance and helps inform future work.
Documentation includes not just technical specifications but also the circumstances of creation, challenges encountered, and insights discovered during the making process.
Process Philosophy
This process cannot be rushed. Each stage has its own timing, and attempting to accelerate any phase diminishes the final result. The goal is not efficiency but integrity.
Some artifact concepts are abandoned after months of development if they don't meet the standard of genuine usefulness or if they feel forced rather than inevitable. This is not failure but discernment.
The process itself is a practice of patience and attention—qualities that become embedded in each finished artifact.