Identity is never only internal. It is a system of objects—both analog and digital—that we choose, maintain, display, and learn to desire.

Chris’s Make and Model distills this complexity into deceptively simple wall sculptures. They borrow their logic from car culture, but not as quotation or gimmick. Instead, like gems, they speak in a charged visual language cut from a familiar vocabulary.

Finish, polish, labor, and ownership interrogate taste as social code—how value is assigned, how status gets performed, and how selfhood comes assembled from materials that seem external to us until they are not.

The seduction of each Polyhedron is immediate. Reflection, color, and precision reveal the textures of consumer identity and object fetish: Why does shine read as authority? Why rawness as authenticity? Why does refinement feel expensive—even moral?

Where do the objects end and I begin? …when I get close enough, I can see myself in the finish.