State Goods

Trying to write down dreams just after waking. All that’s left are vague memories of landscapes waiting for my return.

Study in progress.

ROI on REM

I keep fighting the urge for control and precision.

I spent some time at Rasset Ol studio cutting and moving objects with my hands. It’s been suggested many times that I need to go more manual and analog with my work, and I’ve been resisting it for no good reason.

So the process ended up being a punctuation of moments in pure frustration and many thoughts of giving up on the art itself.

Ultimately that season passed and I found some random approaches that were unexpected and could not be achieved any other way but by hand.

Moving from the analog plain back to digital gave me a new type of fearlessness that I didn’t expect. I know I’ll be going back-and-forth more and adding levels of finishing, but the lesson for me here is that the real territory of curiosity can only be entered with a spirit of courage that doesn’t care about composure or getting it right. And that getting it wrong over and over is the best way there.

The wreckage of beauty.

Created for Hotel Confidential at The Royal Hotel, this work extends my investigation of collage beyond the surface of the image and into its physical presentation.

The completed composition was printed on transparent film and installed in an advertising lightbox. Light moved through some passages while others remained opaque, shifting the work between illumination and obstruction.

I was interested in what happened when collage became spatial in a different way. When layering was no longer only composed, but built through transparency, material, and light.

The next iterations will introduce multiple films on a single box, testing if it will accumulate greater depth, interference, and texture.

Bouquet, 2025
Lightbox Collage
35.75” x 47.75”

(For inquiries: [email protected])

Irrational iterations. Taking ingredients and making non sense. No meaning just mayhem.

A rare sense of care permeates through the space

Ceramics, botanicals, private tea tastings, and objects crafted and selected with sensitivity. The feeling is warm, exacting, and considered. Nothing overstated.

Saturday night studies on solitude.
3’x4’

At curation is everything.

Recently, we visited Eugene Ong inside the shop; photographed beside his favourite State Goods piece, Garden.

“It embraces transformation. Snakes shed their skin and release what no longer serves them. It’s about growing into something greater than before. To me, it represents wisdom, resilience, and reinvention. And of course, the black is just so me.”

KNIFE has become one of Toronto’s defining destinations for intentional living sourcing some of the world’s finest Japanese knives and cookware alongside a meticulously curated slow coffee program. Every object in the space carries a sense of permanence, utility, and care.

We’re proud to see State Goods prints living among that level of craftsmanship and curation.

Visit KNIFE to browse the collection in person.

Photography/design: .paul