NIGHTBLOCK — Walk I / Serum
translucent polyurethane rubber and lighting components
5 × 7 in
From a series of unique NIGHTBLOCK walks created exclusively for Dudd Lite.
Light suspended inside translucent rubber; a low continuous guide through darkness.
Part of Dudd Lite — an exhibition of 130 artist-made nightlights installed throughout @thefutureperfect West Village townhouse.
When @lauraannyoung whispered in my ear that she was putting together a nightlight show with @duddhaus , I immediately locked in 🔒.
For Pocketbook Hudson, I developed a series of custom rubber forms for spaces of bathing, rest, and collective use.
Rubber lent itself naturally to this environment—durable, soft, hygienic, and warm in character. The material allowed each piece to respond directly to use: benches, vessels, and openings shaped around the gestures of washing, sitting, pausing, and gathering.
What interests me most is when material can quietly support experience through comfort, atmosphere, and touch.
A beautiful project brought together by generous and visionary people. Happy to have contributed, and happy to see it featured by @voguemagazine@pocketbookhudson@seancroland@wangshui_@nan_kim_@gabrielofearth
A table is not just a surface—it’s an instrument.
MENSA functions as infrastructure: a calibrated field where light, weight, and exchange are held in tension. Rubber becomes the medium through which ritual is structured.
Thank you @converse , @converse_europe , @flashartvolumes for realizing this in Milan.
Our favorite Disco Suit by @nu_swim resting on cast rubber crescent piece created by @richaybar for our Baths. Many other styles available at @pocketbookmarket in case you leave home without a suit. The work of many creative partners and collaborators fall into place, creating a calming moment unto itself.
My first hotel commission.
@pocketbookhudson .
I was made aware of this project in early 2020. A body of work years in the making.
Last weekend the spa opened on the spring equinox — seeing the work in that space, in that light, surrounded by that energy… the reality lived up to the dream.
Thank you Sean Roland, Nancy Kim , and Wang Shui for bringing me into your vision.
Go visit.
Go sit on the stools.
Go enjoy everything they built.
🍊 @pocketbookhudson
idiorythms
an intimate dialogue of materiality
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pictures taken for @cour_space
and an instant crush for this rubber breast fountain by @richaybar
pr @clubparadis
Is heartbreak less painful if we accept it as a self-referencial delusion? @richaybar on the realities of breaking up (and how Amerie can help us accept them) - full episode on YouTube now #podcast #therapytok #relationships #heartbreak
Highly recommended EXPO
@cour_space is a design gallery hosted in an apartment at the heart of Antwerp.
New installation / exhibition called Idiorhythms, where each designer celebrates an elementary material : caoutchouc for @richaybar
textile for @grrraceatkinson
wood for @lewiskemmenoe
steel for @noir_metal
Idiorhythms, from March 19th till April 19th 2026
COUR, Groenplaats 42, Antwerpen
IDIORHYTHMS
Trough April 19, 2026 COUR Groenplaats 42, 2000 Antwerp, Belgium 1st Floor _____________________________________
The exhibition Idiorhythms assembles four artistic practices whose core could be described as ‘elemental’. Each leverages the unique properties of a chosen material to achieve a kind of tactile virtuosity. Each also eschews industrial production in favour of artistic autonomy and skill, the bedrock of a highly individual style.
The term ‘idiorrhythmia’ originally referred to a ‘self-regulated’ form of monastic life, in which monks lived side by side but followed their own internal schedules in work and worship. In places like Mount Athos, where idiorrhythmic monasticism endures, the texture of monastic life is thus neither communal nor entirely solitary. It is a fantasy of coexistence without synchronisation, of living together apart (à la Roland Barthes).
In the realm of artistic production, rhythm has a trifold meaning: it could say something about the personal routines, rituals, and research methods accumulated throughout an artist’s career; it could indicate a frequency or mode of engagement with the commercial circuit, a certain relationship to showing work, between poles of exposure and productive silence; or it could bear on the material itself – the bulk and grain of wood planks in dynamic juxtaposition, fur patterns hand-stitched onto cloth, the waning translucence of urethane rubber, the chilled lustre of black steel.
The exhibition does not calibrate or harness these rhythmic signatures. It draws attention to the luxuriant tone of their entanglement and resonance, and to the straightforward poetry of the objects that convey them. _____________________________________
WITH WORKS BY:
Rich Aybar, Grace Atkinson, Lewis Kemmenoe, Noir Métal
