When Artwork Is Asked to Hold a Space

There is a difference between artwork that occupies a wall and artwork that holds a space.

In residential and commercial interiors alike, this distinction matters more than is often acknowledged. Many artworks are designed to be noticed immediately, to punctuate, announce, or dominate a room. Others operate more quietly, influencing how a space is experienced over time rather than how it is first perceived.

My studio practice is rooted in the latter.

I think about artwork less as an object and more as a spatial presence, something that participates in the architecture around it. This means considering not only color and form, but also depth, light behavior, sightlines, and the pace at which a viewer encounters the work.

Light as a Structural Element

Light is not an accessory to my work; it is a structural component.

Resin, as a material, behaves differently from paint, paper, or textile. It does not simply reflect light; it holds it, bends it, and releases it gradually. Thickness, translucency, and surface finish all influence how a piece reads throughout the day. Morning light reveals different internal structures than evening light. Artificial illumination can compress or expand depth depending on placement and temperature.

Because of this, I design work with an awareness of how it will live in space, not just how it appears in the studio.

Scale, Distance, and Pause

One of the most overlooked aspects of integrating artwork into interiors is viewing distance.

A piece that is compelling at arm’s length may not hold up across a room. Conversely, a work that reads clearly from a distance can feel flat when approached too closely. I build with both experiences in mind.

Many of my works are structured to reward proximity without requiring it. From afar, they establish a calm visual field. Up close, material details and subtle shifts in color or depth emerge. This allows the work to support a space without demanding constant attention.

This approach is particularly important in environments meant for living, gathering, or working, where artwork should offer a moment of pause rather than an interruption.

Quiet Does Not Mean Passive

There is a persistent assumption that quieter work is less intentional. In practice, the opposite is true.

Restraint requires clarity. Every material decision—layer thickness, edge treatment, surface finish, internal composition—must be precise. There is little room for excess. What remains is what matters.

When artwork is asked to hold a space rather than dominate it, it must be stable, resolved, and confident in its presence. It should feel considered, not decorative. Grounded, not performative.

Integration, Not Assertion

I approach each body of work with integration in mind. How does it sit alongside natural materials like wood, stone, or concrete? How does it respond to negative space? Does it offer visual rest in a highly designed environment, or quiet structure in a minimal one?

These questions guide my process more than any single narrative or theme.

The goal is not to tell a story on the wall, but to create work that belongs—work that supports the architecture, enhances the atmosphere, and remains relevant as spaces evolve.

A Long View

Artwork in interiors is lived with. It is seen in passing, in stillness, in different seasons and states of mind. The most successful pieces are those that continue to reveal themselves without insisting on attention.

This is the long view I work from.