Orange #3, 2025
Variable dimensions
Wood, gesso, acrylic paint, lacquer, glue
Henrik Munk Soerensen
Spiral, 2022
Carved wood, yellow oil stain, glue
12” x 5” x 5”
The piece brings together a branded slipper—an icon of the present—with the lemon, an iconic motif of Dutch still life. The two elements spiral in and out of each other, not only as objects but also as temporal references. In this way, the work folds different moments in time into a single form.
Orange #2, 2025
Wood, acrylic paint, lacquer, glue
Orange, 2025
Wood, Acrylic paint, Lacquer.
5 × 5 × 4 inches
Carved wood, Gesso, Acrylic paint, Oil paint and Lacquer
16 x 10 x 2.5
Carved wood, Gesso, Acrylic paint, Oil paint and Lacquer
16” x 12” x 2.5”
Carved wood, Gesso, Acrylic paint, Oil paint and Lacquer
16 x 10 x 2.5
Carved wood, Gesso, Acrylic paint, Oil paint and Lacquer
16 x 10 x 2.5
Carved wood, Gesso, Acrylic paint, Oil paint and Lacquer
16 x 10 x 2.5 inches
Wood, paint, magnets.
Variable dimensions
These wooden routers speak to an expanding reality—a reality that, though invisible, envelops us at every moment, shaping our interactions, relationships, and experiences.
What I want is a chance to experience the tension between the visible and the invisible, between what is tangible and what remains beyond our grasp. These wooden objects stem from a fascination with the subtle, often imperceptible forces that shape our reality.
For me, these handmade wooden routers are metaphysical artifacts, evoking the connections that link us all. There is an elegance in the way they suggest order—an unseen intelligence of objects. In their material and form, I see an invitation for dialogue between art and technology, between function and form, and between the handmade world and the mass-produced. They stand as a visual metaphor for the complex systems that operate just out of sight, shaping our existence in ways we may not fully comprehend.
I don’t think this work is about looking harder to see what’s hidden, or about forcing a rigid understanding of technology. Rather, it is about evoking something like a sensory recognition of the tension at play beneath the surface of things. It’s about feeling the pull of unseen connections, understanding them not through observation, but through a kind of intuitive perception.
My wooden routers, or comfort objects as I call them, are my way of offering a quiet invitation to that space, where the invisible becomes, for just a moment, something we can almost touch.
The void ceases to be when everything a person is not has been added to them.
Handmade wooden routers, paint, wood, steel, acrylic, LEDs, wiring.
2015
Plate, 2025
Wood, Acrylic paint, lacquer
7 ¼ x 7 ¼ x 3.5 inches
Doorstops of Cranbrook Museum and Academy of Art, 39221 Woodward Avenue, Bloomfield Hills
I replaced all the doorstops at 39221 Woodward Avenue with my own hand-crafted pieces. The pile of stoppers is presented as a collection of artifacts, embodying the relationship between these objects and their new surrogates installed within the institution. The work as a whole reflects on the fragmented nature of experience, where repeated interactions over time throughout the academy give the piece its form, an ongoing dialogue between materiality and context.
In this work, I reimagine the doorstop as a conceptual vehicle, inviting reflection on how the subtle and poetic forces of repetition and interaction shape meaning within a space. Each handmade doorstop serves as a critique—a critical gesture that holds open the door for an institution that prides itself on art and craft, while simultaneously honoring the vastness of human ingenuity.
