A pseudo-traditional, faux-Beaux-Arts carved wooden frame of European provenance is placed at the centre of the work, a piece of kitsch everyday product design which is multiplied and consumed in the thousands. The fact that it is a massproduced picture frame is of no consequence. Geometry and beauty are often lurking in plain sight, in objects which we do not look at even twice. In its mass production quality, along two opposite diagonals we already see faint cracks which I do not touch or try to heal, but retain in its originality. Around this slightly cracked central frame, is built something, which is as impeccable and as perfect as possible. The volutes, double-curvatures, sculpted French Fleur-de-lis shapes are all measured, drawn, decoded and translated into a series of ‘Jewels’. Scaled-up and given their due, the jewels are recreated in box-board ply, not solid like the wooden frame itself, but hollow from inside. This is the way of the Origamist - scanning a solid shape, understanding the complexities of its form and completely translating the same as a series of ‘surface-developments’ or ‘surface-nets’ and then assembling the surfaces back into the 3-dimensional shape. This transformation from a fl at surface to something complicated in shape/form is almost magical, but of course it is all mathematics. The jewels are set into the piece in the same way a jeweller sets precious and semi-precious stones into a bejewelled necklace. As metaphors go, we celebrate a humble mass-produced picture frame at the centre of this work by giving it a border so elaborate, that it blushes a dark gold in embarrassment. But it is also worth noting that the square frame remains completely empty. The surrounds and surfaces of our lives are highly sculpted, decorated and embellished, but our centres are hollowing out. In the absence of a meaningful core, if somebody were to shake us up, we would produce a hollow ringing sound, quite enjoying our own hollowness in our echo chamber of like-minded fellow-hollows.