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PerhapsLabs is dedicated to the pursuit of experimentation-driven design. Through trial and error, questioning the limits of form, and the willingness to play and explore, to fail and start over, the object takes shape. The story of making something should be as interesting as the object itself.

Want something you see here? Want something you have never seen?

Contact: cerebro21@gmail.com

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Some prefer clean, controlled lines, rendering and mass production. Others create things slowly over time, allowing design to evolve, working with hands not computers, embracing forces of chance. Both methods are valid, and can produce stunning work. I have chosen the latter.




I had spent the better part of the year committed to exploring this method of design and making, focused on design by drip - a blend of chaos and control.






Inspired by the formation of stalactites, I set out on a experimental path and fell upon the idea of dripping and accumulation. This method would allow the drip to grow as if it had a life of its own outside of my control. As each drop of wax fell it would settle and harden as it pleased. It was more like a balancing act than my other work, and I was more an observer of the process. The end result was then cast in metal with almost no intervention to the shapes that gravity had made. The name Oroboros refers to the symbol of the snake eating its tail, both creation and destruction, an endless cycle of life and death. This name sums up both the why and the how that led to the making of this collection.














Dimensions:
chair, 29" high, 29" deep, 22" wide
lamp, 38" long, 10" diameter
table, 14" tall, 18" diameter


Custom dimensions and finishes available for commissions.

To purchase originals please visit my etsy store.

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I was asked to work with a designer from Glow Studio to fabricate these two lovely lights for the I. Martin bike shop in Los Angeles. The parts were all provided by the shop and I only had to make just a few small adjustments from the original design.



I have been living a stones throw away from the Adirondacks now for about 4 months, so I have been exposed to a lot of what one might call "rustic" furniture that you don't see a lot in Los Angeles. That got me thinking about wood. Then in my usual blog pilfering I ran across a short documentary about Sam Maloof. So naturally I ran out and got myself some good ol' Douglas Fur and started carving. I plan on following this up with an endless series of ever evolving chairs, tables and lamps. I will update here as I go. Let's see where this takes me.


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For about two years my studio was located on the 11th floor of the LA Mart building in downtown LA. As I was planning to move to upstate New York the good folks that ran the floor were contemplating using the space I was leaving as a work space open to the design and art community they were trying to cultivate. As a going-away gift I designed and offered to build this space for them. As it turns out they decided to rent the space out instead, but I think it would have been a lovely space.




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One issue I have with using renderings when doing custom work for clients is that if it looks too real they expect the final product to look exactly the same. Too rough they loose faith. Real materials often behave differently than those in renderings. The wood can vary, the finish may have a bit more gloss, or be more matte, the colors can be similar, but not quite the same. Sometimes the method of construction can change from the model to the final product; you don't need screws to hold a 3D render together.
So to counter this I have started to blend the raw sketch up with the rendered file. This gives a hint of real, with a healthy blend of "sketchiness". While there are plenty of times when photo realistic renderings are key in selling a pitch, I find that managing expectations and sending photos of the real thing in process does far more to satisfy most clients than a perfect rendering ever could.