Thomas took the inspiration for Aurora from the Fibonacci Sequence, whereby each number is the sum of the two preceding it. This golden ratio provides the foundation for many of the structures within nature, including seeds, flowers, petals, pine cones, fruit and vegetables. Thomas previously undertook a larger commission based on this principle for The Crown Estate at Kingsbury House, St James’s, London. Whereas that version was cast in bronze, this one is a collaboration with Dorset-based, master makers, Little Halstock. Each one in the edition is painstakingly constructed by hand using hand-selected, book-matched flitches of European burr walnut applied to thirty-three pieces of solid brass that pivot from a central point. Every other leaf is book-matched, giving the appearance of movement as the piece spirals through the laminations. Masur birch has been applied to the back of each leaf, contrasting with burr walnut to dynamic effect. While the vertical form of Aurora did not allow him to follow the exact ratio of Fibonacci, Joynes specified lengths of material cut in direct relation to the ratio of the spiral, with the axis determined by its centre. Fibonacci is synonymous with aesthetic perfection. The rich palette of materials chosen for this design, combined with the finest craftsmanship from the Little Halstock team, have all contributed towards the creation of an abstract sculptural form that is both aesthetically pleasing and beautifully executed.
Although the edition has been set at nineteen, this hand process means each sculpture is in fact a unique work. Aurora is presented on a black Nero Marquina marble plinth signed by the artist.