Process

Each work begins as raw vegetable-tanned leather — a natural, imperfect surface that carries its own grain, marks, and resistance. The leather is hand dyed, airbrushed, and distressed, building layers of color, shadow, and age before the image itself begins to emerge.

The composition is then mapped through thousands of individual points. Each hole is punched by hand, creating the foundation for a halftone image built not with ink, but with pressure, metal, and repetition.

Into these holes, two-piece dome rivets are hand set in up to five different sizes. Each stud is placed individually, then struck into position with a mallet and setting tools. Thousands of rivets. Thousands of strikes. One impact at a time.

The process is slow, physical, and obsessive — meditative in its rhythm, but almost punishing in its repetition. It sits somewhere between craft, ritual, and endurance. Leather, metal, color, hammer, and time.

From a distance, the image resolves. Up close, the labor remains visible: every stud, every strike, every imperfection held permanently in the surface.