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When working in watercolour on the coast, I often mix seawater with my paints, occasionally bringing a bottle back to the studio. With this project, I hope to expand that gesture into a substantial body of watercolour seascapes made using seawater gathered from around the world. Painting with seawater is not a new idea, but it offers another way to reflect on localised sea-level change without the need to travel. Each work becomes a site-specific collaboration – a project rooted in appreciation of our seas, treating each collected sample as something precious that connects us.
Sending liquids by post is not always straightforward, but when packaged carefully it is perfectly safe. As with the first part of this project, I don’t want anyone to go out of their way or make a special trip to the coast for this purpose, and I certainly don’t want anyone to take risks when collecting water.
I only need one sample from each sea, so please fill out the form below to check whether water from your local coastline has already been sent. I now have over forty samples, listed below. There’s no need for a large volume – anything between 50–200ml is more than enough.
If possible, please use recycled packaging with plenty of padding: a cleaned drinks bottle or small cosmetics container, tightly sealed, wrapped in several layers of bubble wrap (many couriers require three), placed inside a waterproof bag and secured with tape. You can send it in a box or padded envelope, depending on size. If needed, you may declare the contents as “bottled water: non-hazardous liquid.”
Please include the coordinates of the collection point, and you’re welcome to email me a photograph of the sample being gathered, which I may share on social media.
I plan to create one large artwork using everyone’s seawater. If successfully received, you’ll receive a sketch in return for your sample, produced during the process of creation – approximately postcard-sized – as a thank-you. When sending your sample, please also include your address.
Alboran Sea (Spain)
Aegean Sea (Greece)
Balearic Sea (Spain)
Galilee Sea (Israel)
Mediterranean Sea (Israel)
Mediterranean Sea (France)
Mediterranean Sea (Malta)
Baltic Sea (Denmark)
Baltic Sea (Sweden)
Black Sea (Georgia)
Black Sea (Russia)
North Atlantic Ocean (America)
North Atlantic Ocean (France)
North Atlantic Ocean (Tenerife)
North Atlantic Ocean (Scotland)
South Atlantic Ocean (South Africa)
South Atlantic Ocean (Ilha Grande Bay, Brazil)
Bay of Biscay (France)
Celtic Sea (Isles of Scilly)
Irish Sea (England)
Irish Sea (Ireland)
Irish Sea (Wales)
Saint George’s Channel (Wales)
English Channel (England)
Firth of Clyde (Scotland)
Shapinsay Sound (Orkney)
Sound of Gigha (Isle of Gigha)
New Jersey Bight / Long Island Sound (America)
Loch Nevis (Scotland)
Gulf of Mexico (America)
North Pacific Ocean (America)
North Pacific Ocean (Japan)
Coral Sea (Australia)
East China Sea (China)
East Sea / Sea of Japan (South Korea)
Salish Sea (Canada)
Tasman Sea (Australia)
Tasman Sea (Tasmania)
Indian Ocean (Australia)
Red Sea (Egypt / Sudan border)
Andaman Sea (Havelock Island)
Arctic Ocean (Disko Bay, Greenland)
Southern Ocean (Australia)
Great Australian Bight (Australia)
Suez Canal (Egypt)
Lake Michigan (America)
Caribbean Sea
Norwegian Sea
Greenland Sea
Philippine Sea
South China Sea
Celebes Sea
Java Sea
Arabian Sea
Ionian Sea
Tyrrhenian Sea
Levantine Sea
Where Once the Waters · Fifth instalment
Royal Scottish Academy, Lower Galleries
Photographer: Iain Stewart
In Scotland, and across much of the Northern Hemisphere, we think of ice at this time of year, from November through to March – though it’s clear to see that global warming is changing this outlook. In the Arctic, by contrast, ice has long been a year-round feature that shapes seas, ecosystems and ways of life. Until recently, summer sea ice was a steady presence across the region; now, summers see far less of it, and those seasonal losses carry consequences throughout the year.
As summer ice retreats, the dark, open ocean that replaces it absorbs more sunlight instead of reflecting it back to space. That extra heat amplifies regional and global warming, speeds the loss of land ice, and raises ocean temperatures. Through thermal expansion and increased glacier and ice-sheet melt, this contributes to sea-rise – with consequences for coastlines around the world.
Where Once the Waters features hundreds of letters, typed across five years onto found and antique papers, to real people around the world. Each letter offers a measurement, in millimetres, informing the addressee the volume of sea-change across their lifetimes specific to their birthplaces.
During the exhibition, papers are periodically removed, revealing more of the steel-clad gallery wall. This gradual process mirrors the seasonal disappearance of summer ice and acts as a compressed analogue for the centuries of human activity that have reshaped the planet’s climate – slow, cumulative changes whose impacts are now unmistakable.
Ice is melting and sea levels are rising at rates far beyond natural cycles, turning established rhythms on their head. We can no longer rely on predictable oceanic or cryospheric patterns. In this iteration of Where Once the Waters, location-specific sea level data will be placed in dialogue with the rapid retreat of Arctic ice.
Over the past six years I’ve made a series of installations and audience-engagement projects that offer personalised perspectives on rising sea levels. Ahead of the exhibition in Edinburgh, here is an outline of how two strands of my practice have developed and come together to form the foundation for a new installation.
Intrigued by the wide variations in sea-rise globally, I’ve reached out regularly to scientists, academics and oceanographers over the last few years, to gather localised insights. The resulting readings – which mostly take the form of coastal measurements – are presented to participants of my Where Once the Waters series as personalised letters. True to my found-object based practice, the letters are typed on vintage and antique papers using a manual typewriter. I began collecting data (and participants) in 2019 and continue to update the project using the latest available data.
Sea levels are now rising beyond previously recorded natural fluctuations. The loss of ice – particularly at our Earth’s poles – contributes to this in two main ways: meltwater from land ice adds directly to ocean volume, and the reduction of reflective sea-ice causes water to absorb and store more heat, which in turn produces thermal expansion. The letters explain these processes, offering information relevant to participants’ birthplaces.
The upcoming letter installation at the Royal Scottish Academy will take the shape of an Arctic aerial view and is informed by recent digital work TILL, which uses collaged antique papers to chart long-term ice loss. Typed letters will be mounted on sheet-metal panels in the gallery, fixed at the top with magnets. Following the design of TILL, the papers (letters) will represent ice-cover and the steel backing will symbolise sea. Over the course of the exhibition letters will be removed, so the map visibly erodes – an aerial timeline of ice extent from the late 1800s to today.
The piece will bring together the mapping of TILL with the letter installations of Where Once the Waters, combining cause and effect within a single, evolving work.
Lower Galleries, The Royal Scottish Academy, Edinburgh
December 6th 2025 – January 18th 2026
This body of work functions as a deliberate counterpoint to my ongoing conceptual and curatorial projects Light on Water, TILL and (going live at the same time) Films of Return. Where Light on Water traces an abstract visual language – one I’ve been developing since art school, in which the gaze gradually shifts closer, to the point the horizon disappears – these paintings return to source, to observation, and to the particular atmospheres of place. The sea remains the central theme, and the surfaces are, as ever, recycled. Each work features water and light reflections, but here, unlike my other works, the vantage point and surrounding land is also painted.
Made during an extended period working in Greece – where I’ve been spending a part of each year since 2021 – the series is a conscious effort to ground my work and create purely for the joy of painting. Here, I’m documenting specific coastlines I’ve spent time on and felt compelled to record, aiming to capture the qualities of light, weather and built form that define each setting.
Few of these pieces document the endless blues of summer commonly associated with Greece and its islands, rather, they capture the unique light of other seasons. Paintings of ancient Monemvasia in the early morning, moments after sunrise; backlit churches of Syros captured when the sun is most intense; humid haze in Nafplio; Hydra at dusk.
Petalioi Gulf I
Vintage artist’s box (base)
Oil · 16.5 x 39.5 x 4.5cm
The artwork draws on my longstanding interest in combining found materials with climate-based record keeping – here using antique papers, letters, and ephemera to chart the passing of time and the melting of sea ice in one of Earth’s most vulnerable regions. TILL is now screening at Aberdeen Music Hall, continuing through the Tall Ships Races 2025. View a short making of film and read more about the production process here.
Joy Machine chose a selection of artworks which act as a cross-section of my recent practice, with paintings upon tins, stamps, pulleys, a matchbox, a weaving shuttle, and a rudder. The installation encourages people to get in close and explore each grouping. I’m delighted to be shown alongside Paul Briggs, Laura Catherwood, Yellena James, Jeremy Miranda and Anna Ortiz (below). Artwork enquiries can be made to the gallery directly, with selected pieces available for online purchase.
“Although working at an intimate scale, Cass zooms outward as he paints undulating waves on antique tins, matchboxes, pulleys, and more, a collection of 17 of which are installed at Joy Machine. Visible swipes of paint delineate the horizon in some pieces, while others are entirely awash in curved lines. Interested in conveying the effects of a heating planet and rising waters, Cass uses repurposed, human-made containers representative of physical constraints as metaphors for our collective limits to adapt.”
A range of recent small—medium object based seascapes will be shown at Joy Machine, a new gallery in Chicago, founded by Grace Ebert & Christopher Jobson of Colossal. And Then There was Everything will highlight the way artists interpret natural motifs, also featuring Anna Ortiz, Jeremy Miranda, Paul Briggs, Yellena James & Laura Catherwood.
Color Club Arts Building, 4148 N Elston Ave, Chicago, USA
April 18th – June 7th
For my first time exhibiting with Thompson’s Gallery in Aldeburgh, I’ll present four medium—large, framed Light on Water paintings as part of a coastal themed group show, alongside Emma Williams, Stuart Buchanan, Fiona Millais, Malcolm Taylor, Sarah Spencer and more.
High St, Aldeburgh, England
April 19th – May 10th
“There are certain objects which have become synonymous within my practice; objects which I use as surfaces for painting onto. I was immediately drawn to this oak door, principally because of the story its face told: the ghost traces of large ornate strap-hinges and holes where once handle and lock turned; a radius of screw holes which seem to form the rays of a sun.
This door must be 250 years old. How many families lived behind it? What events did it stoically endure? How many hundreds of thousands of times was it opened, closed, locked, knocked, slammed? Doors are familiar, essential items, and each conjures a story and bears witness to the life it's led.
In around 2018, I realised I was almost exclusively making artwork about the sea. I wasn't living near the sea at the time, but I was continually preoccupied with water. In 2014, I lived in the Almería arid zone for a short time and experienced what it was like to go about daily life with a serious shortage of water. Then, the following year, in 2015, I spent time in Venice and witnessed the opposite extreme. Both experiences had an impact on me, led to exhibitions and contributed to a strong and long-lasting desire to use my art practice as a means to explore environmental issues related to water.
My work aims to celebrate the sea, whilst posing serious questions about its current vulnerability. I hope that this painting might open a dialogue, triggering contemplation on the importance of our oceans.”
September 2020–April 2024
C.18th solid oak plank door · Norfolk
Gouache · 77 x 196 x 4cm
As is the nature of my practice, the substrates had to be recycled, formed from repurposed materials as much as possible. The surfaces I usually paint onto are readymade objects (wooden boxes, tins, drawers) and so an increase in scale brings challenges. I’ve been collecting antique nautical maps, rolls of part-used vintage canvas, bus-blinds and more; pasting them to various kinds of board, sometimes collaging book covers and other miscellaneous cardboard items on top. Plaster is applied to some; others are filled, sanded and gessoed. Working large (predominantly in oil) means long drying times between layers, so I work on pieces in rotation. I had a vision for this series, for each work to abstractly describe cropped closeups of sea surface, without sky or land, with reflected sunlight as the protagonist. The image of sea surface can be infinitely abstracted.
Here, I am expressively, bodily, determinedly painting—with much larger brushes. The time it takes for each layer to dry allows reflection, and each subsequent layer becomes more deliberate. Grooves and channels are formed, then traced and re-traced—like the telling and re-telling of a familiar story. Shapes of loops and curves described in thick swells of paint, with emphasis placed on the negative space. Each layer changes the dynamic of the piece in question. Some are hard won, others emerge as if meant to be. I pick out details with small brushes, pushing back areas of shadow, adding highlights and bright spots of sunlight intuitively. Those marks respond to the paint beneath, to the marks made during that period of great physical activity.
Rising Horizon was formed of seascapes—painted in oil onto predominantly found metal substrates—which charted an ever-increasing horizon-line, each titled as a percentage relative to the height of the painted sea, making reference to the issue of rising sea levels, with key works along the way designed to highlight the reasons behind this significant element of the climate crisis (steel roadsigns were used as painting surfaces to highlight pollution from transportation, a copper boiler referenced thermal expansion of seawater). Light on Water does the same, though rather than exploring the many reasons behind rising seawater, it looks specifically at one: the storage capacity of our oceans. The very fact that most of the works feature only sea (without sky) suggests that a limit has been reached—our oceans cannot take any more.
Our oceans are storing an estimated 91 percent of the excess heat energy trapped in the Earth’s climate system. As warming climbs exponentially, our planet’s oceans—also home to most of its life—won’t be able to store any more of it. Every other breath we take comes from microscopic underwater organisms. That same water is absorbing nine times as much global warming as the world above the surface.
If we look to the North & South Poles—Earth’s thermostats—the consequences of warming water are disastrous. Here, we are faced with one of the most striking visuals of the climate crisis: a battle of light vs. dark.
Reduce (2023–24) 31.5 x 88cm, oil, solar reflective paint, spray paint & ink on primed wooden box lid
Persist (2023–24) 35 x 37cm, oil, oil bar & pastel on plastered & primed bus blinds on board
Within the exhibition book, another project can be found: the Lost Ice Archive. Over the last few years, I’ve been collecting old photographs, slides, postcards and news cuttings featuring (long lost) ice—bergs, sheets, floes, glaciers, snow—to form an archive of sorts. Certainly, the ice featured in each of these images is now melted. There’s a deep sadness to the loss of these mammoth bergs, once seen as a “menace” (as more than one news clipping states) they are today indicators of our planet’s health. Ice loss from Greenland and Antarctica has increased fivefold since the 1990s, and now accounts for a quarter of sea-level rise. The Greenland ice cap alone is losing an average of 30m tonnes of ice an hour; calving ice making way for dark heat-storing sea.
“David Cass takes a long look at the ocean in his tenth solo exhibition, ‘Light on Water’, at The Scottish Gallery. Somehow, the show manages to be both an in-depth reflection on surfaces of water (if that is not an inherent contradiction) and to embody deep concerns with climate change …
In a sense, these works are abstract. They don’t depict particular stretches of water, but are concerned with colours and moods; water is the language of the work as much as the subject. The hang in The Scottish Gallery, which places the paintings at different levels, creates the sense of the work as the sum of its parts as well as inviting us to look at individual components.
… Cass approaches his subject with such energy and engagement that it’s rarely dull, and manages to spark reflection on climate change without allowing the show to feel heavy-handed or overly didactic.”
“For David Cass, the sea offers an endless source of wonder at its depths, history, bounty, and sometimes ferocity ... the artist has long been fascinated by the power of water, especially its increasing vulnerability to the effects of the climate crisis.
In ’Light on Water’, his current solo exhibition at The Scottish Gallery, the artist continues to address the warming and rapid rising of ocean levels around the world through paintings that hover between abstraction and representation.
Cass draws attention to estimates that 91 percent of Earth’s excess heat energy trapped in the climate system is stored by our oceans. As the planet continues to warm, this storage capability disappears, threatening all manner of life...”
“Cass has long concerned himself with climate change and in his new exhibition – the tenth major solo show of his career – he continues to wrestle with these era-defining issues. His atmospheric seascapes are painted onto found objects, many of them antiques, and these aged former containers, books and other objects remind the viewer of a time when humans had yet to have such a significant impact on the natural world.”
“The sea has captivated artists since time immemorial. For David Cass, born in Edinburgh and raised in the Scottish Borders, an interest in the natural rhythm of the local landscape led him to the sea as an early source of inspiration. He paints the sea in all its moods, creating images that combine direct observation with a poetic sensibility.
In his latest exhibition, which marks Cass’s tenth major solo presentation of his career, the artist celebrates the power and majesty of the oceans, and continues to use his art to campaign for climate awareness. Rising sea levels, unpredictable severe storms, and the bleaching of coral reefs starkly remind us of how human activity is altering the natural balance of our seas.”
— The Scottish Gallery
With my tenth solo exhibition approaching, I’m looking back at the shows that led to it. Since graduating from Edinburgh College of Art in 2010, I’ve presented ten interconnected physical solo exhibitions, plus the solo virtual exhibition Journey of an Artwork and charity fundraisers. Between each, I’ve organised and participated in mixed and open shows, award exhibitions, collaborative projects and outreach events – including workshops, screenings and recently a performance – with a mounting environmental agenda. Artworks have been shown at COP21, 26 & 27; and at venues including Christie’s, The Royal Academy, Royal Scottish Academy, Tatha Gallery, Moncreiff-Bray, The Scottish Gallery and more.
In this first exhibition at The Scottish Gallery, a collection of found object based watercolour paintings introduced my working approach.
A second exhibition at The Scottish Gallery saw this approach intensified, with a deeper focus on the sea and bodies of water, and over 200 paintings and constructions made using increasingly unconventional recycled materials.
As a result of a Royal Scottish Academy scholarship, an interest in travel and historic environmental events was ignited, leading to a body of artworks exhibited at The Scottish Gallery on recycled papers depicting, among other subjects, scenes of historic Great Floods in Florence & Paris and drought in southern Spain.
As my preoccupation with water took on a more prominent role in my practice, this pop-up solo at Gayfield Creative provided a comprehensive look back at water paintings – on a variety of surfaces – created between 2010 and 2016.
This exhibition and book launch in Florence’s Palazzo Lanfredini – headquarters of The British Institute of Florence – marked the 50th year since the city’s Great Flood of 1966. The launch event featured eyewitness accounts from those who lived through the flood and was followed by the Italian premiere of Roger Graef’s Why Save Florence.
To open The Scottish Gallery’s 175th anniversary celebrations, I was selected to exhibit as an ambassador of the gallery’s contemporary tier. Here, my focus shifted from Florence to Venice, and from the theme of historical inundation to present-day issues of mass tourism and rising sea levels.
A fifth solo exhibition with The Scottish Gallery zoomed out from my previous: from detailed depictions of Venice’s plight to the global issue of rising sea levels. Here, a climbing horizon-line was used as a tool to impart climate data; further explained in the accompanying publication and an in-conversation event with climate change scientist Dr Dave Reay. This exhibition saw new working materials including recycled plastic waste and metals.
As Scotland’s Year of Coasts & Waters began, Taigh Chearsabhagh Museum & Arts Centre in North Uist presented a second instalment of my sea rise series alongside workshops and talks. New additions to the series referenced the gallery’s location, at the very edge of a low-lying island, as sea levels gradually climb.
The COVID-19 pandemic hit soon after Horizon Rising, resulting in the delay of my 2021 Biennale exhibition. The extra year allowed the expansion of my original idea and increased online activity during the period led to a more interactive project. Participants from around the world took part in my sea level survey, resulting in hundreds of personalised typed letter-artworks. These were combined with a series of 365 miniature seascapes. Various iterations of the two-part project have since been exhibited, with groupings of the works exhibited in the UK, USA & Egypt. One hundred of the miniature seascapes were shown during The Scottish Gallery’s exhibition Contemporary, and fifty can be found in Light on Water.
The title of my tenth solo exhibition possesses a dual meaning. While the show overall acts as a survey of key themes and materials, a main body of thirty paintings was created using a new approach. Cropped closeups of sea surface at once celebrate the sea’s brilliance, abstractly describing the play of light across its surface; whilst also referencing the very real issues presented by warming seawater, particularly in our Earth’s most vulnerable regions. Sign up to my newsletter for updates.
“Science in an artistic guise: today different disciplines have much to gain from feeding from one another: combining different perceptions and means of expression, apprehending the world through multiple prisms, enables us to better apprehend what is threatening it. This paper explores the context that gave rise to such ‘science-infused’ artistic initiatives…”
Horizon Rising 2020
Excerpt:
Where Once the Waters: 365 Days (Series II) 2022
Rising Horizon 2019
“David Cass is one among a growing number of artists who act as sentinels for our shores...”
Over on Instagram – in collaboration with .ART domains – I’m in the process of sharing five insights into my artwork, use of found objects, working processes, and into this very website.
As you may know, my work is not bound to any one place. My materials come from various locations (mostly around Europe) and recently my subject matter has been almost completely imagined. So, location-specific domain names never suited this website. I came across .ART around seven years ago and have used it proudly ever since, incorporating the domain into my email address and even my Instagram handle. This fits well with my ethos of simple yet effective brand alignment. Less digital clutter keeps the artwork in the foreground.
As someone involved in various artistic disciplines, I’m glad to be part of a growing community. Friends use the domain, institutions, and renowned artists like El Anatsui, known for his colossal found object creations. Anatsui talks about the transformative power of working with found objects; how it allows the public to mix their own memories of a particular object with the experience of viewing an artwork. His inspirational bottle-top installations were on view recently in the Tate Turbine Hall. Other .ART adopters include Sharon Stone, the Institute of Contemporary Arts, and the Marina Abramovic Institute.
Another aspect that drew me to .ART is their commitment to supporting the arts in meaningful ways. Funded by domain sales, their Art Therapy Initiative promotes the healing powers of art, which resonates with my belief in art’s profound impact on mental wellness. Their community is vibrant and active, offering resources like Meet the .ARTists, where artists share their creative processes, experiences with art residencies, and insights into art promotion and therapy. These sessions have been incredibly valuable, allowing me to connect with a broader audience and learn from other artists’ stories.
For artists looking to align their digital presence with their creative identity, I highly recommend considering a .ART domain. It’s been an integral part of my branding, helping me bring my diverse artistic expressions under one cohesive umbrella.
Next month I’ll exhibit with Tatha Gallery, in their 10th anniversary group show. In September I’ll exhibit with The Scottish Gallery, to celebrate my own milestone: a 10th solo exhibition. Work is already well underway (studio: slideshow bottom right). The show will revisit some of my key projects over the last fourteen years featuring paintings on reclaimed wood and canvas, collections of found-objects, paper and card studies…
Dublin-born violinist Aisling O’Dea has had a varied career to date. Violinist, animateur, presenter and narrator of children’s stories through musical and interactive workshops. She lived and worked in Germany for 11 years before moving to the UK on being appointed to the Scottish Chamber Orchestra in 2007. A passionate musician, Aisling enjoys collaborating across art forms: art, dance and the spoken word. She is a founding member of Artisan Ensemble, a group dedicated to performances of core chamber music repertoire and contemporary compositions.
A violinist born and based in Dublin, Anita is a former member of the Irish Chamber Orchestra and National Symphony Orchestra (Dublin), continuing to play with them and both the RTE Concert Orchestra and Irish National Opera. With a Masters degree in baroque violin, she is a founding and active member of the Irish Baroque Orchestra. Aside from her diverse orchestral activities, she enjoys playing early and contemporary music in smaller chamber ensembles and has premiered numerous works by Irish composers.
Violinist Emma Purslow leads the Alkyona String Quartet and collaborates regularly with ensembles and orchestras including O/Modernt Chamber Orchestra, Explore Ensemble, the Netherlands Chamber Orchestra, London Philharmonic and BBC Symphony Orchestra. Emma is a sought-after teacher and workshop leader, teaching at Chethams School of Music. She is a member of Quimantu, an Anglo-Chilean band dedicated to creating opportunities for people of all cultures to express themselves through music.
Scottish artist David Cass divides his time between the UK and Europe. Water plays the central role in his award-winning environmental art practice. From painting to performance, David engages his audience, presenting accessible exhibitions in response to the climate crisis — and specifically the topic of rising sea levels. ‘500 Years’ was designed for Christie’s, weaving past, present and future oceanic change, highlighting the power of art in raising crucial awareness.
An innovative sensory exhibition centred around Julius Porcellis’s c.1630 painting Ships in Distress off a Rocky Coast curated by Artphilia. Two other Old Masters’ works are included in this display, alongside a painting by David Cass – titled 500 Years (after Porcellis) – which acts as a form of counterpoint to the Dutch Master’s work, visualising a future scenario in which global heating has heightened the severity of storm surges and dramatically altered sea-levels.
This month we learned that our planet is on track for almost 3-degrees Celsius of global warming. 500 Years was an immersive performance, imagining sea-level rise across five centuries, from pre-industrial times, to a 3-degree-future. The performance summoned through music what the aforementioned painted work does through paint. Devised by Cass and featuring violinists Aisling O’Dea, Emma Purslow & Anita Vedres, the performance was part of Christie’s December 4th programme Old Masters, New Era.
Since lockdown, I’ve been slowly collecting Scottish Bluebell matchboxes from all corners of the internet – good vintage examples like these are becoming harder and harder to find. If you’re familiar with my work, you’ll know what’s happening here. With these boxes, I’m creating miniature seascapes, inspired by the view from my studio here in Athens. Small pieces of found wood are cut to size and inserted into each drawer. These can be purchased online.
