With a focus on materiality, Nicholas Denney’s Prospect collection re-imagines the natural processes of creation. Through the investigation of material construction and decay, his furniture reflects on geology and chaos theory and how those factors converse with the built environment. In the Land side table and Heavens console table, the pigmented surface represents the remnants of a process, what is left behind.

The top surface consists of layers of pigmented cement, built up according to a pattern dictated by a geometric CAD drawing. This initial process aims to dispel the myth of ‘random’ by adhering to an original system of organisation. These layers are then ground and polished in an erosive action, leaving the linear building blocks of what came before. By breaking or cutting a material we become better informed of its composite nature.

“I intend to reach to the subconscious to induce a meditative state, triggered by a condensed pattern. Pattern that replicates the systems of natural form, but is essentially a human construct … Concrete is a material with literal and conceptual weight. It is the prime attribute of the contemporary civic landscape. It is human stone, our shortcut to monumental primordial creation, restrained only by the laws of physics, engineering and imagination. It is the most human of materials. By re-appropriating cement to paint, through positive application and negative gouging, I use mark making to convey some of the humanity of the material.”