Through bent-lamination experiments, I developed an interest in layered planes that interact indirectly through the projection of light.

However, the standalone laminations—and the methods required to fasten them together—did not resonate with the formal language I wanted to pursue. I pivoted to woodturning as the primary fabrication method.

Turning allowed me to reconsider the roles of lamination and chain within the work, as well as how my woodworking and jewelry practices could intersect.

I became more interested in what veneer could do if it never left the jig. Lamination instead became part of the turning blanks: layers of veneer were pressed and glued between pieces of hardwood before being turned. Once exposed through turning, the veneer acts as a material fossil—embedded within the hardwood while preserving a trace of the bent-lamination experiments that preceded the final form.

Material studies exploring how composition and changes in profile affect how the embedded veneer is exposed after turning.

Testing movement and connection between turned forms and handmade brass chain.