the veneer finds its next proving ground among Prospect's makers and designers, who understand that Black Limba's grey-to-black veining against golden-brown heartwood is not merely decorative but structural in its visual impact — each streak a geological autobiography that no two panels share alike. Where Princeton's installations favored the wood's capacity for quiet sophistication, Prospect's workshops lean into the bolder figuring, selecting sheets where the dark veins run with an almost calligraphic intensity across the lighter sapwood, exploiting that indistinct boundary between heartwood and sapwood as a tonal gradient rather than a limitation. The craft here demands acknowledging what time will do — that the golden tones will deepen toward amber, that the contrast between light ground and dark figure will soften into something warmer and more unified — and designing around that inevitable maturation rather than against it. It is this forward-thinking sensibility, this willingness to let the material declare its own trajectory, that carries the conversation naturally from Prospect's benches toward the studios of Providence, where
