Computer Aided Design makes possible nearly any thinkable form, where form also can be transformed into matter. With this process of automation it is easy to forget the structure and lines of resistance of natural matter – its own generic. My philosophy is to work with the complex simplicity. By following one idea through, and by setting clear limitations to the work, I always strive with matter itself. I strive and experiment with the materials, by sketching, folding, flexing, cutting and bending until the form unfolds. Inflection is a process where the norm is been fluctuated. In the place of clear-cut separations, a continuum emerges which, by minute transitions, brings about a transformation free from abrupt jerks or sudden shifts. Inflection is a kind of modulation, a fashioning, a continual and perpetually variable modelling process. The complex/simple idea behind my design products can be the sylinder, like all the pieces emerge from in the Figgjo Spir collection. My chair made for ForaForm is based on the eclipse. When I did the chocolate design for Sphinx from Nidar, my focus is on the sand surroundings of the mythic figure, the folds, dunes, scowls and displacements.		This is the philosophy of the fold, where ideas unfolds, turns around and enfolds. Design by trial and error as a process of disclosure. A fold which have not an inside and outside, a turning around where the fold meets itself. The fold entails clothing, both amplexus and complexio. The design of the fold is an embracing and interweaving of different things, a hinge for unwrapping and envelopment, to encircle and to turn around – like the spiral form of seashells. The idea of protection and defence is as important as that of rolling and unrolling. The fold depicts a world that is not empty, but full, indeed crammed, packed to overflowing, in which there is a maximum of matter in a minimum of space. Such a design shows the greatest respect for what protects, enfolds, withstands and survives.