He committed to metal while studying at the Design Academy in Eindhoven and he has remained consistent ever since. In the beginning, he worked with a panel-beating hammer, shaping thin sheets over a simple leather sandbag. Over time, his toolkit expanded. So did his skills. Today, he handles aluminum with the same ease and fluidity as a haute couture tailor works with silk. He has perfected welds that resemble flawless stitching, mastering the art of “basting” and assembly - fitting and joining metal pieces, one by one, like fabric cut from a pattern. In his hands, the rigid material becomes pliable. Working solo and with increasing ambition, he marks a new chapter with his exhibition Body of Work. He moves away from designing objects on a computer, from meticulous refinement and planning - instead, he improvises, sketching geometries live, in space, listening to post-bop, Afrobeat, and, above all, his own intuition.

The inspiration for his new collection comes from the bodywork of concept cars and racing machines, as well as the process of building race cars and unique prototypesin the firsthalf ot the 20th century. Like the creators of aerodynamic forms, he starts with a complex tubular frame, over which he stretches an aluminum "skin”. Unlike those early engineers, who had to work fast, he takes a monastic approach - crafting smooth, seamless, waxed objects that capture movement, a fascination with the lines of car bodies like the Porsche 356, but also with the human body itself. "During my architecture studies, I loved life drawing”, he recalls. Today, he is captivated by the structure of the human spine, which he reinterprets into functional objects. And rightly so - the human body, after all, is the ultimate machine.