Even when it doesn't look like it
The portfolio has surfaces that look like burnt metal, stone, industrial paint, printing and materials that would probably have very expensive names in a homeware shop.
It's all wood.
That's one of the most interesting parts of the process: taking a recognisable material and pushing it until it stops immediately announcing what it is.
This isn't about hiding wood out of embarrassment. Grain, density and small differences between boards still decide part of the result. The visual transformation happens on top; the material remains underneath and always has a say.
The wood gets a vote
Two pieces made from the same drawing never respond in exactly the same way. There are variations the file can't predict and the laser can't force away.
That's why “can you make another exactly like it?” usually requires a little diplomacy.
I can repeat the drawing. The wood doesn't sign contracts.