On Completeness

As a child, in my grandmother’s house, I was drawn to decorative drawer pulls, lamp finials, jeweled wine stoppers, and other finely made objects that appeared whole at first glance, yet revealed an unfinished back or functional intrusion—a screw, a mount, some necessary compromise that interrupted their sovereignty. I sought objects complete in themselves, resolved from every angle.

The work is self-contained and without prescribed function, allowing form to exist on its own terms.

In this way, Litor carries forward an early way of seeing—one that values wholeness, sustained attention, and the satisfaction of encountering an object complete in itself.