Incollect Magazine - Issue 15

Incollect Magazine 15 STACKED 10 Bulb Chandelier, 2026. Salvaged Walnut, 19.25 x 60 inches. B rooklyn-based designer Richard Haining has built an original woodworking practice around reclaimed timber, transforming demolition lumber and construction waste into sculptural furniture, lighting, mirrors, and vessels. His work demonstrates that sustainability and craftsmanship can reinforce one another. A graduate of the Rhode Island School of Design, Haining originally studied ceramics before turning to wood. That influence remains visible in his Stacked process, in which thousands of small reclaimed wood fragments are laminated before being carved into flowing forms. The additive method recalls ceramic construction as much as traditional woodworking. The finished works celebrate the history of the material. Nail holes, weathering, mineral stains, and varied grain remain visible, giving each object a unique surface while highlighting the character of reclaimed timber. Despite being assembled from countless geometric pieces, Haining’s forms appear remarkably fluid. Mirrors, vessels, lighting, and furniture combine technical precision with sculptural simplicity. Sustainability is embedded in both his process and materials. By using wood that would otherwise be discarded, Haining creates work that combines environmental responsibility with innovative design and exceptional craftsmanship. Reclaiming Wood Through Innovation richard haining Interstice: Thresholds Carved with Light and Time , a recent exhibition of Marcus De Paula sculpture at Wexler Gallery, Philadelphia. From left: Rhea, 2023; Titan, 2022; Coeus Ultor , 2026, and Aegaeon, 2021. B razilian-American artist Marcus Vinicius De Paula combines monumental stone sculpture with engineered light to create works that explore geology, astronomy, and time. Using granite, basalt, and other ancient stones, he transforms solid material into sculptures animated by carefully integrated illumination. His work examines the relationship between permanence and light. Massive stone blocks are carved with precision before concealed LEDs illuminate fissures and openings, revealing the natural structure of the rock while creating subtle visual effects. De Paula’s practice reflects both artistic and scientific influences. Raised by a painter and ceramic artist mother and a father who worked as an engineer on NASA’s Mars exploration program, he combines engineering with sculptural inquiry. Technology is integrated seamlessly into the work. LEDs, acrylic, steel, and electronics disappear within the stone, allowing light to appear as a natural extension of the material rather than a technological intervention. Many sculptures reference astronomy, geology, and classical mythology, but their emphasis remains on material, scale, and the interaction between stone and light. Stone, Light, and Time marcus vinicius de paula