Mineral water consumption has become deeply woven into contemporary culture. What was once a simple act of hydration is now wrapped in branding, lifestyle identity, and social signaling. With shelves crowded by premium labels and designer bottles, the brand one chooses to drink has, in many ways, become an accessory of modern life.

Beneath this culture of health and convenience lies a mounting environmental cost. Every day, enormous quantities of plastic water bottles are discarded—strewn across public spaces, washing up on shorelines, or funneled into landfill sites that are reaching capacity at an unsettling pace. Airports stand as a microcosm of this global issue: passengers are prohibited from taking water bottles through security checkpoints, resulting in thousands of partly full or empty bottles being surrendered daily. The bottles used in this artwork were gathered from Stansted Airport in London, offering a direct material link to this often-overlooked cycle of waste.

The project brings attention to the hidden aesthetics contained within these ubiquitous objects. By isolating and magnifying the base of the bottle—an element rarely noticed—the work reveals unexpected variations in form, texture, and geometry. The plastic has been subtly reworked to evoke the soft translucency of frosted glass, shifting perception from disposable commodity to crafted material.

Through this transformation, the piece invites viewers to reconsider their relationship to objects designed for single use, prompting reflection on both consumption habits and the latent beauty that can exist within discarded materials.

The inaugural Drop chandelier was realized as a live performance during Design Miami in 2007, marking the beginning of an ongoing exploration of reuse, material identity, and aesthetic reimagining.