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Marijke Davey, 'Constellations,' 2025

Presented as part of 'Sample Size' @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'The three cork cuts are liberation posters from the Palestinian Museum Permanent Collection, donated by Ali Kazak.

"30 March, the Day of the Land", a PLO Poster, 1983

"Solidarity", a Poster by the 11th World Festival of Youth and Students, 1977-1978

"Thumbs Up for Palestine", a PLO Poster, 1990

"Self-Rule", a PLO Poster, 1983'

Marijke Davey, 'Constellations,' 2025

Presented as part of 'Sample Size' @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'The three cork cuts are liberation posters from the Palestinian Museum Permanent Collection, donated by Ali Kazak.

"30 March, the Day of the Land", a PLO Poster, 1983

"Solidarity", a Poster by the 11th World Festival of Youth and Students, 1977-1978

"Thumbs Up for Palestine", a PLO Poster, 1990

"Self-Rule", a PLO Poster, 1983'

Marijke Davey, 'Constellations,' 2025

Presented as part of 'Sample Size' @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'The three cork cuts are liberation posters from the Palestinian Museum Permanent Collection, donated by Ali Kazak.

"30 March, the Day of the Land", a PLO Poster, 1983

"Solidarity", a Poster by the 11th World Festival of Youth and Students, 1977-1978

"Thumbs Up for Palestine", a PLO Poster, 1990

"Self-Rule", a PLO Poster, 1983'

Marijke Davey, 'Constellations,' 2025

Presented as part of 'Sample Size' @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'The three cork cuts are liberation posters from the Palestinian Museum Permanent Collection, donated by Ali Kazak.

"30 March, the Day of the Land", a PLO Poster, 1983

"Solidarity", a Poster by the 11th World Festival of Youth and Students, 1977-1978

"Thumbs Up for Palestine", a PLO Poster, 1990

"Self-Rule", a PLO Poster, 1983'

Marijke Davey, 'Constellations,' 2025

Presented as part of 'Sample Size' @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'The three cork cuts are liberation posters from the Palestinian Museum Permanent Collection, donated by Ali Kazak.

"30 March, the Day of the Land", a PLO Poster, 1983

"Solidarity", a Poster by the 11th World Festival of Youth and Students, 1977-1978

"Thumbs Up for Palestine", a PLO Poster, 1990

"Self-Rule", a PLO Poster, 1983'

Marijke Davey, 'Constellations,' 2025

Presented as part of 'Sample Size' @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'The three cork cuts are liberation posters from the Palestinian Museum Permanent Collection, donated by Ali Kazak.

"30 March, the Day of the Land", a PLO Poster, 1983

"Solidarity", a Poster by the 11th World Festival of Youth and Students, 1977-1978

"Thumbs Up for Palestine", a PLO Poster, 1990

"Self-Rule", a PLO Poster, 1983'

Marijke Davey, 'Constellations,' 2025

Presented as part of 'Sample Size' @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'The three cork cuts are liberation posters from the Palestinian Museum Permanent Collection, donated by Ali Kazak.

"30 March, the Day of the Land", a PLO Poster, 1983

"Solidarity", a Poster by the 11th World Festival of Youth and Students, 1977-1978

"Thumbs Up for Palestine", a PLO Poster, 1990

"Self-Rule", a PLO Poster, 1983'

Marijke Davey, 'Constellations,' 2025

Presented as part of 'Sample Size' @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'The three cork cuts are liberation posters from the Palestinian Museum Permanent Collection, donated by Ali Kazak.

"30 March, the Day of the Land", a PLO Poster, 1983

"Solidarity", a Poster by the 11th World Festival of Youth and Students, 1977-1978

"Thumbs Up for Palestine", a PLO Poster, 1990

"Self-Rule", a PLO Poster, 1983'

Marijke Davey, 'Constellations,' 2025

Presented as part of 'Sample Size' @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'The three cork cuts are liberation posters from the Palestinian Museum Permanent Collection, donated by Ali Kazak.

"30 March, the Day of the Land", a PLO Poster, 1983

"Solidarity", a Poster by the 11th World Festival of Youth and Students, 1977-1978

"Thumbs Up for Palestine", a PLO Poster, 1990

"Self-Rule", a PLO Poster, 1983'

Marijke Davey, 'Constellations,' 2025

Presented as part of 'Sample Size' @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'The three cork cuts are liberation posters from the Palestinian Museum Permanent Collection, donated by Ali Kazak.

"30 March, the Day of the Land", a PLO Poster, 1983

"Solidarity", a Poster by the 11th World Festival of Youth and Students, 1977-1978

"Thumbs Up for Palestine", a PLO Poster, 1990

"Self-Rule", a PLO Poster, 1983'

Marijke Davey, 'Constellations,' 2025

Presented as part of 'Sample Size' @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'The three cork cuts are liberation posters from the Palestinian Museum Permanent Collection, donated by Ali Kazak.

"30 March, the Day of the Land", a PLO Poster, 1983

"Solidarity", a Poster by the 11th World Festival of Youth and Students, 1977-1978

"Thumbs Up for Palestine", a PLO Poster, 1990

"Self-Rule", a PLO Poster, 1983'

Marijke Davey, 'Constellations,' 2025

Presented as part of 'Sample Size' @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'The three cork cuts are liberation posters from the Palestinian Museum Permanent Collection, donated by Ali Kazak.

"30 March, the Day of the Land", a PLO Poster, 1983

"Solidarity", a Poster by the 11th World Festival of Youth and Students, 1977-1978

"Thumbs Up for Palestine", a PLO Poster, 1990

"Self-Rule", a PLO Poster, 1983'

@studio_dirt, Wall Light 01, Wall Light 02, Table Light 01, 2025

Presented as a part of ‘Sample Size’ @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'Each piece shaped by the size and scale of its parts - stone, timber, and fabric - reinterpreted into functional lighting objects. Constructed from leftover architectural samples and standard hardware components, each light was built through a process of stacking, each material forming part of a cohesive whole'

@studio_dirt, Wall Light 01, Wall Light 02, Table Light 01, 2025

Presented as a part of ‘Sample Size’ @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'Each piece shaped by the size and scale of its parts - stone, timber, and fabric - reinterpreted into functional lighting objects. Constructed from leftover architectural samples and standard hardware components, each light was built through a process of stacking, each material forming part of a cohesive whole'

@studio_dirt, Wall Light 01, Wall Light 02, Table Light 01, 2025

Presented as a part of ‘Sample Size’ @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'Each piece shaped by the size and scale of its parts - stone, timber, and fabric - reinterpreted into functional lighting objects. Constructed from leftover architectural samples and standard hardware components, each light was built through a process of stacking, each material forming part of a cohesive whole'

@ang_grant, 'Carpet Sample Lamp', 2025

Presented as a part of ‘Sample Size’ @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

Where does all the ugly carpet go?

@ang_grant, Sample Table, 2025

Presented as a part of ‘Sample Size’ @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

Timber floor board samples and stainless steel legs

@_daltonstewart, SS Lamp 01, 2026

Presented as a part of ‘Sample Size’ @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'SS Lamp 01 emerges from overlooked architectural sample bricks, units circulated by specifiers as condensed representations of whole buildings. In their raw state, these fragments sit at the intersection of geology, industry, architecture, and culture: clay and mineral content transformed through firing; modular units that scaffold cities; materials embedded with the labour and histories of settlement, .

In this work, two brick formats are rearranged to produce an illuminated structure that relies entirely on their existing dimensions and inherent strength. The familiar is shifted, not through transformation but through reconfiguration. A material typically bound to permanence and load-bearing logic becomes a conduit for light.'

@_daltonstewart, SS Lamp 01, 2026

Presented as a part of ‘Sample Size’ @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'SS Lamp 01 emerges from overlooked architectural sample bricks, units circulated by specifiers as condensed representations of whole buildings. In their raw state, these fragments sit at the intersection of geology, industry, architecture, and culture: clay and mineral content transformed through firing; modular units that scaffold cities; materials embedded with the labour and histories of settlement, .

In this work, two brick formats are rearranged to produce an illuminated structure that relies entirely on their existing dimensions and inherent strength. The familiar is shifted, not through transformation but through reconfiguration. A material typically bound to permanence and load-bearing logic becomes a conduit for light.'

@belwilliams.studio,
'a table for my cup,'
'a shade for my light,' &
'a rest for my spoon,' 2025

Presented as a part of ‘Sample Size’ @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'Grounded in play, these sculptures are equal parts light-hearted and practical, a set of three compositions for the home, each made to hold one thing; A rest for my spoon, a table for my cup, a shade for my light.

Loaded up with a box of Easycraft timber samples and a roll of masking tape I began stacking, binding and balancing. Unexpectedly, tape became a core component of the process, used to test structures and hold tension on the glue joins while they dried. More often than not this was accompanied by the tone of domino-ing wood as the tape gave way and my pièce de résistance toppled to the ground. I wanted to capture this tension and play in the final assemblies, keeping the bound tape elements, squirts of glue and original sample labels still in place, beneath a lick of glossy enamel paint.'

@belwilliams.studio,
'a table for my cup,'
'a shade for my light,' &
'a rest for my spoon,' 2025

Presented as a part of ‘Sample Size’ @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'Grounded in play, these sculptures are equal parts light-hearted and practical, a set of three compositions for the home, each made to hold one thing; A rest for my spoon, a table for my cup, a shade for my light.

Loaded up with a box of Easycraft timber samples and a roll of masking tape I began stacking, binding and balancing. Unexpectedly, tape became a core component of the process, used to test structures and hold tension on the glue joins while they dried. More often than not this was accompanied by the tone of domino-ing wood as the tape gave way and my pièce de résistance toppled to the ground. I wanted to capture this tension and play in the final assemblies, keeping the bound tape elements, squirts of glue and original sample labels still in place, beneath a lick of glossy enamel paint.'

@belwilliams.studio,
'a table for my cup,'
'a shade for my light,' &
'a rest for my spoon,' 2025

Presented as a part of ‘Sample Size’ @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'Grounded in play, these sculptures are equal parts light-hearted and practical, a set of three compositions for the home, each made to hold one thing; A rest for my spoon, a table for my cup, a shade for my light.

Loaded up with a box of Easycraft timber samples and a roll of masking tape I began stacking, binding and balancing. Unexpectedly, tape became a core component of the process, used to test structures and hold tension on the glue joins while they dried. More often than not this was accompanied by the tone of domino-ing wood as the tape gave way and my pièce de résistance toppled to the ground. I wanted to capture this tension and play in the final assemblies, keeping the bound tape elements, squirts of glue and original sample labels still in place, beneath a lick of glossy enamel paint.'

@belwilliams.studio,
'a table for my cup,'
'a shade for my light,' &
'a rest for my spoon,' 2025

Presented as a part of ‘Sample Size’ @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'Grounded in play, these sculptures are equal parts light-hearted and practical, a set of three compositions for the home, each made to hold one thing; A rest for my spoon, a table for my cup, a shade for my light.

Loaded up with a box of Easycraft timber samples and a roll of masking tape I began stacking, binding and balancing. Unexpectedly, tape became a core component of the process, used to test structures and hold tension on the glue joins while they dried. More often than not this was accompanied by the tone of domino-ing wood as the tape gave way and my pièce de résistance toppled to the ground. I wanted to capture this tension and play in the final assemblies, keeping the bound tape elements, squirts of glue and original sample labels still in place, beneath a lick of glossy enamel paint.'

@ssdh.studio, Soft Baffle Lamp 01, Soft Baffle Lamp 02

Presented as a part of ‘Sample Size’ @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

Assemblies of carpeted forms and filtered lights

@maxrwc, INK.01/02/03, 2025.

Presented as a part of ‘Sample Size’ @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

Inlay wall panels made of cross-cut timber veneer on engineered floorboard samples.

@maxrwc, INK.01/02/03, 2025.

Presented as a part of ‘Sample Size’ @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

Inlay wall panels made of cross-cut timber veneer on engineered floorboard samples.

@nuudstudio, Groove Lamp, 2025.

Presented as a part of ‘Sample Size’ @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'Place and click.
Nail, then next.
Profiles hide.
Offcuts scrapped.

Offcuts salvaged.
Solid timber.
Place, then switch.
Profiles shine.

Spotted Gum and Silvertop Ash cladding boards.
Hardwax Oil.
Material provided by Britton Timbers.
Made with help from Bricolage'

@nuudstudio, Groove Lamp, 2025.

Presented as a part of ‘Sample Size’ @threefivefivethree

Thanks to @___office
@zacharyjmcpherson 📷

'Place and click.
Nail, then next.
Profiles hide.
Offcuts scrapped.

Offcuts salvaged.
Solid timber.
Place, then switch.
Profiles shine.

Spotted Gum and Silvertop Ash cladding boards.
Hardwax Oil.
Material provided by Britton Timbers.
Made with help from Bricolage'

Thank you for joining us at @threefivefivethree for our latest exhibition, Sample Size.

Presented as part of @___office's ongoing curatorial project, Sample Size invited artists, architects and designers to present new work through the reworking and assembly of unused architectural samples.

Presenting new work by:

Max Copolov
Ruth Cummins
Marijke Davey
Angus Grant
Dalton Stewart
Bel Williams
Natural Brick
Nüüd Studio
SSDH

@zacharyjmcpherson

Thank you for joining us at @threefivefivethree for our latest exhibition, Sample Size.

Presented as part of @___office's ongoing curatorial project, Sample Size invited artists, architects and designers to present new work through the reworking and assembly of unused architectural samples.

Presenting new work by:

Max Copolov
Ruth Cummins
Marijke Davey
Angus Grant
Dalton Stewart
Bel Williams
Natural Brick
Nüüd Studio
SSDH

@zacharyjmcpherson

Thank you for joining us at @threefivefivethree for our latest exhibition, Sample Size.

Presented as part of @___office's ongoing curatorial project, Sample Size invited artists, architects and designers to present new work through the reworking and assembly of unused architectural samples.

Presenting new work by:

Max Copolov
Ruth Cummins
Marijke Davey
Angus Grant
Dalton Stewart
Bel Williams
Natural Brick
Nüüd Studio
SSDH

@zacharyjmcpherson 📷

Thank you for joining us at @threefivefivethree for our latest exhibition, Sample Size.

Presented as part of @___office's ongoing curatorial project, Sample Size invited artists, architects and designers to present new work through the reworking and assembly of unused architectural samples.

Presenting new work by:

Max Copolov
Ruth Cummins
Marijke Davey
Angus Grant
Dalton Stewart
Bel Williams
Natural Brick
Nüüd Studio
SSDH

@zacharyjmcpherson 📷

Thank you for joining us at @threefivefivethree for our latest exhibition, Sample Size.

Presented as part of @___office's ongoing curatorial project, Sample Size invited artists, architects and designers to present new work through the reworking and assembly of unused architectural samples.

Presenting new work by:

Max Copolov
Ruth Cummins
Marijke Davey
Angus Grant
Dalton Stewart
Bel Williams
Natural Brick
Nüüd Studio
SSDH

@zacharyjmcpherson 📷