• Paul Cocksedge explains: 'I've been fascinated for a long time by the various properties of light: how it emanates, how it diffuses, bends, reflects, and scatters. With these EL sheets I've been able to explore much further the idea of light as a flat object, as something touchable and malleable - not housed in a glass bulb or a neon strip, but an object you can bend and twist - and almost see it come alive in your hands...'
    Bourrasque, City Council of Lyon, France

    Paul Cocksedge explains: 'I've been fascinated for a long time by the various properties of light: how it emanates, how it diffuses, bends, reflects, and scatters. With these EL sheets I've been able to explore much further the idea of light as a flat object, as something touchable and malleable - not housed in a glass bulb or a neon strip, but an object you can bend and twist - and almost see it come alive in your hands...'

  • Paul Cocksedge explains: 'I've been fascinated for a long time by the various properties of light: how it emanates, how it diffuses, bends, reflects, and scatters. With these EL sheets I've been able to explore much further the idea of light as a flat object, as something touchable and malleable - not housed in a glass bulb or a neon strip, but an object you can bend and twist - and almost see it come alive in your hands...'
    Bourrasque, City Council of Lyon, France

    Paul Cocksedge explains: 'I've been fascinated for a long time by the various properties of light: how it emanates, how it diffuses, bends, reflects, and scatters. With these EL sheets I've been able to explore much further the idea of light as a flat object, as something touchable and malleable - not housed in a glass bulb or a neon strip, but an object you can bend and twist - and almost see it come alive in your hands...'

  • Paul Cocksedge explains: 'I've been fascinated for a long time by the various properties of light: how it emanates, how it diffuses, bends, reflects, and scatters. With these EL sheets I've been able to explore much further the idea of light as a flat object, as something touchable and malleable - not housed in a glass bulb or a neon strip, but an object you can bend and twist - and almost see it come alive in your hands...'
    Bourrasque, City Council of Lyon, France

    Paul Cocksedge explains: 'I've been fascinated for a long time by the various properties of light: how it emanates, how it diffuses, bends, reflects, and scatters. With these EL sheets I've been able to explore much further the idea of light as a flat object, as something touchable and malleable - not housed in a glass bulb or a neon strip, but an object you can bend and twist - and almost see it come alive in your hands...'

  • Paul Cocksedge explains: 'People and the way they connect are integral to this piece. When couples move to the stage and kiss, their act of kissing activates a light sequence in the canopy above and illuminates it. With high tech installations there can sometimes be a disconnect, but with KISS it’s people’s touch that brings the technology to life.'
    KISS, City Council of Milan, Italy

    Paul Cocksedge explains: 'People and the way they connect are integral to this piece. When couples move to the stage and kiss, their act of kissing activates a light sequence in the canopy above and illuminates it. With high tech installations there can sometimes be a disconnect, but with KISS it’s people’s touch that brings the technology to life.'

  • Paul Cocksedge explains: 'People and the way they connect are integral to this piece. When couples move to the stage and kiss, their act of kissing activates a light sequence in the canopy above and illuminates it. With high tech installations there can sometimes be a disconnect, but with KISS it’s people’s touch that brings the technology to life.'
    KISS, City Council of Milan, Italy

    Paul Cocksedge explains: 'People and the way they connect are integral to this piece. When couples move to the stage and kiss, their act of kissing activates a light sequence in the canopy above and illuminates it. With high tech installations there can sometimes be a disconnect, but with KISS it’s people’s touch that brings the technology to life.'

  • Paul Cocksedge explains: 'The Auditorium has given me a chance to work with things that on the surface seem mutually exclusive: open/shut, inside/outside, solid/transparent… The partition marks the Auditorium’s border, but what defines that border is that you can see and hear and even reach through it…'
    Auditorium, 100% Design, London

    Paul Cocksedge explains: 'The Auditorium has given me a chance to work with things that on the surface seem mutually exclusive: open/shut, inside/outside, solid/transparent… The partition marks the Auditorium’s border, but what defines that border is that you can see and hear and even reach through it…'

  • Paul Cocksedge explains: 'The Auditorium has given me a chance to work with things that on the surface seem mutually exclusive: open/shut, inside/outside, solid/transparent… The partition marks the Auditorium’s border, but what defines that border is that you can see and hear and even reach through it…'
    Auditorium, 100% Design, London

    Paul Cocksedge explains: 'The Auditorium has given me a chance to work with things that on the surface seem mutually exclusive: open/shut, inside/outside, solid/transparent… The partition marks the Auditorium’s border, but what defines that border is that you can see and hear and even reach through it…'

  • Paul Cocksedge explains: 'The Auditorium has given me a chance to work with things that on the surface seem mutually exclusive: open/shut, inside/outside, solid/transparent… The partition marks the Auditorium’s border, but what defines that border is that you can see and hear and even reach through it…'
    Auditorium, 100% Design, London

    Paul Cocksedge explains: 'The Auditorium has given me a chance to work with things that on the surface seem mutually exclusive: open/shut, inside/outside, solid/transparent… The partition marks the Auditorium’s border, but what defines that border is that you can see and hear and even reach through it…'

  • Paul Cocksedge explains: ‘I am very honoured to have been able to contribute this work, ‘Manuscript’, to the 2011 Beijing Design Week. This structure speaks to so many different aspects of Chinese and British history and culture: poetry and writing, the power and beauty of nature, and, of course, man-made engineering and design. At heart, though, ‘Manuscript’ is simply meant to inspire people to look, listen, and make new discoveries...’
    Manuscript, Beijing Design Week, China

    Paul Cocksedge explains: ‘I am very honoured to have been able to contribute this work, ‘Manuscript’, to the 2011 Beijing Design Week. This structure speaks to so many different aspects of Chinese and British history and culture: poetry and writing, the power and beauty of nature, and, of course, man-made engineering and design. At heart, though, ‘Manuscript’ is simply meant to inspire people to look, listen, and make new discoveries...’

  • Paul Cocksedge explains: ‘I am very honoured to have been able to contribute this work, ‘Manuscript’, to the 2011 Beijing Design Week. This structure speaks to so many different aspects of Chinese and British history and culture: poetry and writing, the power and beauty of nature, and, of course, man-made engineering and design. At heart, though, ‘Manuscript’ is simply meant to inspire people to look, listen, and make new discoveries...’
    Manuscript, Beijing Design Week, China

    Paul Cocksedge explains: ‘I am very honoured to have been able to contribute this work, ‘Manuscript’, to the 2011 Beijing Design Week. This structure speaks to so many different aspects of Chinese and British history and culture: poetry and writing, the power and beauty of nature, and, of course, man-made engineering and design. At heart, though, ‘Manuscript’ is simply meant to inspire people to look, listen, and make new discoveries...’

  • Paul Cocksedge explains: ‘I am very honoured to have been able to contribute this work, ‘Manuscript’, to the 2011 Beijing Design Week. This structure speaks to so many different aspects of Chinese and British history and culture: poetry and writing, the power and beauty of nature, and, of course, man-made engineering and design. At heart, though, ‘Manuscript’ is simply meant to inspire people to look, listen, and make new discoveries...’
    Manuscript, Beijing Design Week, China

    Paul Cocksedge explains: ‘I am very honoured to have been able to contribute this work, ‘Manuscript’, to the 2011 Beijing Design Week. This structure speaks to so many different aspects of Chinese and British history and culture: poetry and writing, the power and beauty of nature, and, of course, man-made engineering and design. At heart, though, ‘Manuscript’ is simply meant to inspire people to look, listen, and make new discoveries...’

  • ‘The Living Staircase is actually a combination of staircase and room, of movement and stillness, vertical and horizontal’, Paul Cocksedge explains. ‘At every turn there is an opportunity to stop and look, smell, read, write, talk, meet, think, and rest. If a staircase is essentially about going from A to B, there is now a whole world living and breathing in the space between the two.’
    The Living Staircase, Ampersand, London

    ‘The Living Staircase is actually a combination of staircase and room, of movement and stillness, vertical and horizontal’, Paul Cocksedge explains. ‘At every turn there is an opportunity to stop and look, smell, read, write, talk, meet, think, and rest. If a staircase is essentially about going from A to B, there is now a whole world living and breathing in the space between the two.’

  • ‘The Living Staircase is actually a combination of staircase and room, of movement and stillness, vertical and horizontal’, Paul Cocksedge explains. ‘At every turn there is an opportunity to stop and look, smell, read, write, talk, meet, think, and rest. If a staircase is essentially about going from A to B, there is now a whole world living and breathing in the space between the two.’
    The Living Staircase, Ampersand, London

    ‘The Living Staircase is actually a combination of staircase and room, of movement and stillness, vertical and horizontal’, Paul Cocksedge explains. ‘At every turn there is an opportunity to stop and look, smell, read, write, talk, meet, think, and rest. If a staircase is essentially about going from A to B, there is now a whole world living and breathing in the space between the two.’

  • ‘The Living Staircase is actually a combination of staircase and room, of movement and stillness, vertical and horizontal’, Paul Cocksedge explains. ‘At every turn there is an opportunity to stop and look, smell, read, write, talk, meet, think, and rest. If a staircase is essentially about going from A to B, there is now a whole world living and breathing in the space between the two.’
    The Living Staircase, Ampersand, London

    ‘The Living Staircase is actually a combination of staircase and room, of movement and stillness, vertical and horizontal’, Paul Cocksedge explains. ‘At every turn there is an opportunity to stop and look, smell, read, write, talk, meet, think, and rest. If a staircase is essentially about going from A to B, there is now a whole world living and breathing in the space between the two.’

  • ‘The Living Staircase is actually a combination of staircase and room, of movement and stillness, vertical and horizontal’, Paul Cocksedge explains. ‘At every turn there is an opportunity to stop and look, smell, read, write, talk, meet, think, and rest. If a staircase is essentially about going from A to B, there is now a whole world living and breathing in the space between the two.’
    The Living Staircase, Ampersand, London

    ‘The Living Staircase is actually a combination of staircase and room, of movement and stillness, vertical and horizontal’, Paul Cocksedge explains. ‘At every turn there is an opportunity to stop and look, smell, read, write, talk, meet, think, and rest. If a staircase is essentially about going from A to B, there is now a whole world living and breathing in the space between the two.’

  • 'Capture' takes you close up to light's essence. It marks the concslusion of a long process of reduction, subtracting the usual infrastructure around light as far as physically possible. Instead, we are left with a handspun metallic hemispehere that seems to capture the light, holding it in place. And then it vanishes, leaving only light itself.
    Capture, Friedman Benda Gallery, New York

    'Capture' takes you close up to light's essence. It marks the concslusion of a long process of reduction, subtracting the usual infrastructure around light as far as physically possible. Instead, we are left with a handspun metallic hemispehere that seems to capture the light, holding it in place. And then it vanishes, leaving only light itself.

  • 'White Light' is a room where everything and nothing changes. All you have to do is raise your eyes towards the glowing white mosaic six metres above you. The next time you glance up, the ceiling has silently crossfaded into a brilliant, illuminated mosaic of precisely calibrated and positioned colours. But on lowering your eyes again, nothing has changed, the room stays white. Everything transforms, everything remains constant.
    White Light, Friedman Benda Gallery, New York

    'White Light' is a room where everything and nothing changes. All you have to do is raise your eyes towards the glowing white mosaic six metres above you. The next time you glance up, the ceiling has silently crossfaded into a brilliant, illuminated mosaic of precisely calibrated and positioned colours. But on lowering your eyes again, nothing has changed, the room stays white. Everything transforms, everything remains constant.

  • 'Poised' is inspired by the grace and suppleness of paper. It began with the idea of rolling a sheet of steel to a point just short of where it could not actually exist as a table; it would simply topple. But the simple idea led to an intensive process of calculations regarding central gravity, mass and equilibrium. "Poised" achieves an improbable degree of balance and precision: one millimeter's horizontal deviation in any direction and the balance would be lost.
    Poised, Friedman Benda Gallery, New York

    'Poised' is inspired by the grace and suppleness of paper. It began with the idea of rolling a sheet of steel to a point just short of where it could not actually exist as a table; it would simply topple. But the simple idea led to an intensive process of calculations regarding central gravity, mass and equilibrium. "Poised" achieves an improbable degree of balance and precision: one millimeter's horizontal deviation in any direction and the balance would be lost.

  • Paul Cocksedge explains: 'I discovered that when you a fire a focused beam of light into a crystal it does something very special. Despite the hypnotic effect caused by focusing the lasers onto the Swarovski crystal at the centre of each diamond shape, this chandelier is in fact an illusion which disappears at the flick of a switch.'
    Crystallize, Swarovski, Milan

    Paul Cocksedge explains: 'I discovered that when you a fire a focused beam of light into a crystal it does something very special. Despite the hypnotic effect caused by focusing the lasers onto the Swarovski crystal at the centre of each diamond shape, this chandelier is in fact an illusion which disappears at the flick of a switch.'

  • Paul Cocksedge explains: 'I discovered that when you a fire a focused beam of light into a crystal it does something very special. Despite the hypnotic effect caused by focusing the lasers onto the Swarovski crystal at the centre of each diamond shape, this chandelier is in fact an illusion which disappears at the flick of a switch.'
    Crystallize, Swarovski, Milan

    Paul Cocksedge explains: 'I discovered that when you a fire a focused beam of light into a crystal it does something very special. Despite the hypnotic effect caused by focusing the lasers onto the Swarovski crystal at the centre of each diamond shape, this chandelier is in fact an illusion which disappears at the flick of a switch.'

  • Paul Cocksedge explains: 'What I love about this piece is the first impression of a vast empty space with just lights suspended.

When you look through one of these red lamps, you realise the car has been with you circulating the space the entire time. Through the light we see the car and through the car, we understand the light.'
    Sestosenso, BMW / FLOS, Italy

    Paul Cocksedge explains: 'What I love about this piece is the first impression of a vast empty space with just lights suspended. When you look through one of these red lamps, you realise the car has been with you circulating the space the entire time. Through the light we see the car and through the car, we understand the light.'

  • Paul Cocksedge explains: 'What I love about this piece is the first impression of a vast empty space with just lights suspended.

When you look through one of these red lamps, you realise the car has been with you circulating the space the entire time. Through the light we see the car and through the car, we understand the light.'
    Sestosenso, BMW / FLOS, Italy

    Paul Cocksedge explains: 'What I love about this piece is the first impression of a vast empty space with just lights suspended. When you look through one of these red lamps, you realise the car has been with you circulating the space the entire time. Through the light we see the car and through the car, we understand the light.'

  • Paul Cocksedge explains: 'What I love about this piece is the first impression of a vast empty space with just lights suspended.

When you look through one of these red lamps, you realise the car has been with you circulating the space the entire time. Through the light we see the car and through the car, we understand the light.'
    Sestosenso, BMW / FLOS, Italy

    Paul Cocksedge explains: 'What I love about this piece is the first impression of a vast empty space with just lights suspended. When you look through one of these red lamps, you realise the car has been with you circulating the space the entire time. Through the light we see the car and through the car, we understand the light.'

  • Paul Cocksedge explains: 'What I love about this piece is the first impression of a vast empty space with just lights suspended.

When you look through one of these red lamps, you realise the car has been with you circulating the space the entire time. Through the light we see the car and through the car, we understand the light.'
    Sestosenso, BMW / FLOS, Italy

    Paul Cocksedge explains: 'What I love about this piece is the first impression of a vast empty space with just lights suspended. When you look through one of these red lamps, you realise the car has been with you circulating the space the entire time. Through the light we see the car and through the car, we understand the light.'

  • Paul Cocksedge explains: 'This was a great interactive piece: appearing like a giant coin which had fallen from the sky, passers-by were encouraged to add their pennies to the magnetic surface, facilitating a human connection with an otherworldly object. Drop was copper plated through many small human acts of contribution and at the end of the installation every penny the public contributed was turned into one pound by Barnardo’s corporate partners.'
    Drop, London Design Festival

    Paul Cocksedge explains: 'This was a great interactive piece: appearing like a giant coin which had fallen from the sky, passers-by were encouraged to add their pennies to the magnetic surface, facilitating a human connection with an otherworldly object. Drop was copper plated through many small human acts of contribution and at the end of the installation every penny the public contributed was turned into one pound by Barnardo’s corporate partners.'

  • Paul Cocksedge explains: 'This was a great interactive piece: appearing like a giant coin which had fallen from the sky, passers-by were encouraged to add their pennies to the magnetic surface, facilitating a human connection with an otherworldly object. Drop was copper plated through many small human acts of contribution and at the end of the installation every penny the public contributed was turned into one pound by Barnardo’s corporate partners.'
    Drop, London Design Festival

    Paul Cocksedge explains: 'This was a great interactive piece: appearing like a giant coin which had fallen from the sky, passers-by were encouraged to add their pennies to the magnetic surface, facilitating a human connection with an otherworldly object. Drop was copper plated through many small human acts of contribution and at the end of the installation every penny the public contributed was turned into one pound by Barnardo’s corporate partners.'

  • Paul Cocksedge explains: 'This was a great interactive piece: appearing like a giant coin which had fallen from the sky, passers-by were encouraged to add their pennies to the magnetic surface, facilitating a human connection with an otherworldly object. Drop was copper plated through many small human acts of contribution and at the end of the installation every penny the public contributed was turned into one pound by Barnardo’s corporate partners.'
    Drop, London Design Festival

    Paul Cocksedge explains: 'This was a great interactive piece: appearing like a giant coin which had fallen from the sky, passers-by were encouraged to add their pennies to the magnetic surface, facilitating a human connection with an otherworldly object. Drop was copper plated through many small human acts of contribution and at the end of the installation every penny the public contributed was turned into one pound by Barnardo’s corporate partners.'

  • Paul Cocksedge explains: 'The reference to the human body is a symbol of medical research. I am keen to show how making the skin become invisible reveals the workings of the arms, similar to an X-ray.  The intention is that people walking along busy Euston Road will, for a moment in time, consider their own bodies and walk away with a clear association between imagery and the Wellcome Trust.'
    Window Display, Wellcome Trust, London

    Paul Cocksedge explains: 'The reference to the human body is a symbol of medical research. I am keen to show how making the skin become invisible reveals the workings of the arms, similar to an X-ray. The intention is that people walking along busy Euston Road will, for a moment in time, consider their own bodies and walk away with a clear association between imagery and the Wellcome Trust.'

  • Paul Cocksedge explains: 'The reference to the human body is a symbol of medical research. I am keen to show how making the skin become invisible reveals the workings of the arms, similar to an X-ray.  The intention is that people walking along busy Euston Road will, for a moment in time, consider their own bodies and walk away with a clear association between imagery and the Wellcome Trust.'
    Window Display, Wellcome Trust, London

    Paul Cocksedge explains: 'The reference to the human body is a symbol of medical research. I am keen to show how making the skin become invisible reveals the workings of the arms, similar to an X-ray. The intention is that people walking along busy Euston Road will, for a moment in time, consider their own bodies and walk away with a clear association between imagery and the Wellcome Trust.'

  • Paul Cocksedge explains: 'The reference to the human body is a symbol of medical research. I am keen to show how making the skin become invisible reveals the workings of the arms, similar to an X-ray.  The intention is that people walking along busy Euston Road will, for a moment in time, consider their own bodies and walk away with a clear association between imagery and the Wellcome Trust.'
    Window Display, Wellcome Trust, London

    Paul Cocksedge explains: 'The reference to the human body is a symbol of medical research. I am keen to show how making the skin become invisible reveals the workings of the arms, similar to an X-ray. The intention is that people walking along busy Euston Road will, for a moment in time, consider their own bodies and walk away with a clear association between imagery and the Wellcome Trust.'