It Starts With an Idea
Every shadowbox begins not with materials, but with a feeling. Sometimes it's a specimen I've been waiting to work with — a Death's Head moth, a pair of articulated bones, a fragment of something old and strange. Sometimes it's a mood: something dark and ceremonial, or quiet and melancholic. The composition comes first, even if only in my head.
I sketch loosely. I don't follow rigid plans — the piece tells me what it needs as I build it.
Building the Frame From Scratch
Every frame I use is made entirely by hand — from the very beginning. I design each one myself, take the measurements, cut the wood, sand it, glue it, stain it, and lacquer it. The glass is cut by me too. I carve out the depth of the box, line the interior with velvet, and finish the back panel myself.
For cast pieces, I go even further: I create silicone moulds, cast the resin, paint and lacquer each cast, deepen the form, cut the glass to fit, and assemble everything by hand. There are no shortcuts. Every frame is a piece of work in itself before a single object is placed inside.
The shape matters enormously. Coffin frames carry a different energy than rectangular ones. Octagonal frames feel more ceremonial. Each shape sets the tone for the entire composition.
The Interior
Before anything goes in, the interior is prepared. I line the background with velvet or paper, and often lace — layered or used alone depending on the mood of the piece. More recently I've been building frames with handmade miniature bookshelves built directly into the box, which adds an entirely new dimension to the composition.
The materials I work with go far beyond fabric. I use preserved moss, prepared plants — many of which I prepare myself — fungi, lichens, and crystals. Each element is chosen for what it brings to the piece: texture, symbolism, energy, or simply the way it catches light.
Building the Composition
This is the part that takes the longest. I arrange and rearrange. Objects are placed, removed, rotated, replaced. I'm looking for balance — not symmetry necessarily, but visual weight distributed in a way that feels intentional and alive.
Every element is chosen for a reason. Bones for mortality. Crystals for energy. Dried botanicals for the passage of time. Brass findings for the alchemical. Nothing goes in just because it looks good — it has to belong.
Preservation and Assembly
All specimens are sustainably sourced. Insects are relaxed and carefully positioned before being set. Bones are degreased and whitened. Botanicals are preserved through drying or other techniques depending on the material — each one treated to hold its form as long as possible.
Once the composition is finalised, everything is fixed in place — pinned, glued, or wired depending on the material. The process is slow and deliberate. A single piece can take anywhere from several hours to several days.
Sealing and Finishing
The final step is sealing the frame. The glass is cleaned, fitted, and secured. Any labels — Latin names, sigils, small handwritten notes — are added last.
Most pieces in my studio are one of a kind — complex compositions that exist only once. Some simpler designs can be repeated and are available as made-to-order. Either way, every single piece is made entirely by hand, from the first cut of wood to the final pane of glass.
You can see the result of this process in Floral Delight — a bat shadowbox with dried botanicals, crystals and hand-cast baroque frame, ready to ship.