The title of the project originates from a sketch made in a calendar.
A layout of lines and oval shapes suspended in the space between days of the week. A kind of diagram of suspension, a record of a movement that never occurred — or one that continues in an infinite pause.

From this note, a project emerged — not only about objects, but about ways of thinking. A series of wooden and polished steel pieces that may serve as mirrors. All derive from a single solid form, from which each shape is “cut off” by a plane. Their geometry is defined by a sequence of repetitive operations performed in a 3D environment.

What emerges is a series of objects that — despite their formal kinship — differ from one another in subtle ways.
Initially, they were intended to hang in a regular rhythm. But due to the differences in shape, their suspension points had to be shifted, introducing a slight disturbance to the rhythm. As a result, the composition of a single series forms an arc, evoking the phases of the moon or the sun’s movement across the sky. Repeating this ‘error’ across multiple series creates the impression of randomness, of chaos.

An obsession with repetition, accumulation, the urge to create options of options, to make too much, is an attempt to do everything. To see what happens when nothing is stopped. One shape leads to another, in an endless sequence of approximations.

The result is 7 shape variants in 8 finishes. Each form can be wall-mounted in 6 different positions thanks to a specially designed hanger. Versions with round and rectangular mirror surfaces are made from a variety of woods, including: oak, maple, birch, beech, American walnut, red oak, elm, and Canadian maple.

A series of hand-painted pieces, evoking the aesthetic of a 3D modelling environment, sits alongside stained objects reminiscent of a traditional woodworking shop. Others are carved and finished with rich black ink. Mirrors with rectangular metal surfaces resemble the 'work views' of 3D software, revealing not just the final result, but also the process behind it.

Together, they form a space of excess and formal mishmash.