The testing of ideas required several prototypes in paper, fabric, acrylic, wood veneer, mirror acrylic, plexiglass, and sandblasted glass, using key industrial processes included routing, laser etching, and sandblasting, often used in combination on a single substrate. The particular processes have been chosen for their ability to make industrial processes appear ‘non-industrial’ or hand produced - as a form of disruption or contradiction to their incorporation. Drawings of random, ubiquitous patterns evolved that were digitally reproduced for industry application. For example, whilst making ice cream in a refrigerated ice cream maker, an ice crystal pattern appeared on the inside of the refrigerated container before the ice cream mixture was inserted. The image was documented, drawn, and converted into a digital file. On another occasion a cracked glass screen was photographed in an airport check-in lounge. This was also documented with the intention of transferring an image of cracked glass onto undamaged glass. Each pattern became an integral part of the layering but provided a disruption to the reading of the work. The effects achieved often evolve by sandblasting both sides of glass surfaces or layering laser etching on both sides of acrylic mirror and plexiglass. The double blasting creates a blurred effect, giving rise to ambiguous interpretations of the work.

Through initial drawings, several patterns are explored via hand cutting mask out material and sandblasting, others were digitally rendered and industrially fabricated onto a range of substrates. In addition to patterned surfaces the incorporation of text as a surface aesthetic is explored within the work. For this specific commission, flexible LEDs were incorporated into the built space because it was necessary to view the work from both sides of the wall it occupies.

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