This series of eight floor lamps is constructed from an evolving archive of plastic container tops collected over many years from Dungeness Beach on the Kent coast. Gathered from the tideline, these lids—ranging from oil can tops to toothpaste tube caps—are stacked to form vertical columns that reveal the extraordinary diversity of shape, colour, and industrial purpose embedded in everyday packaging.

Over time, the colours of these plastics have softened and weathered under the relentless abrasion of sand, salt, and sea water. What were once brightly manufactured hues have been transformed into a palette of subtle, desaturated tones, each lid carrying its own history of erosion and exposure. Organised chromatically, the series moves gradually through the colour spectrum—from white plastics at one end to black at the other—creating a gentle gradient of intermediary shades shaped not by design but by environmental forces.

Each column culminates in a sandblasted glass jar that sits atop its corresponding lid, completing the form of a small “lighthouse.” When illuminated, the lamps cast a muted, atmospheric glow that filters through the textured glass, echoing the hazy coastal light of Dungeness itself. The stacked lids beneath become geological in appearance, like core samples extracted from a shoreline made of discarded human material.

As a whole, the series operates as both a record and a transformation of marine debris. These once-disposable remnants of consumer culture are reconfigured into beacons—objects that guide, illuminate, and call attention to the entangled relationship between humans and the coastal environment. The lamps invite reflection on the journey of each plastic fragment, the forces that shaped it, and the new narratives that can emerge when waste is reimagined as sculptural material.