On practice

Umbra works through reduction.

The work begins by removing what is not essential. Colour is withheld. Form is allowed to recede. What remains must justify its presence.

Interiors, gardens, and objects are treated as related conditions rather than separate disciplines. The same questions apply regardless of scale.

Light is approached as a material. Shadow is not corrected, but composed.

Decisions are cumulative rather than expressive. The work develops slowly, through constraint.

Antumbra exists as a counterpoint. Where Umbra subtracts, Antumbra accumulates. Both are necessary.

This site is a record, not a catalogue.

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