Egeberg's objects begin as arguments, not sketches. An amphibious vehicle becomes a lounge chair suited for land and water. A furnace of liquid iron becomes a mirror frozen mid-pour. A NASCAR engine becomes a chandelier. Each translation strips a familiar industrial reference of its original function and reinstalls it inside the domestic interior, where it is asked to perform an entirely different role, no longer to move, or burn, or race, but to sit still and be looked at. This is design as storytelling: the object as the residue of a displaced idea.

The studio works across an unusual material register for furniture, styrofoam and soft PU foam finished in pigmented polyurethane and automotive paint, aluminium sand-cast to capture the texture of molten flow, quartz sand additively printed into solid volumes, stainless steel laser-cut and folded from a single sheet. Industrial methods are chosen for what they allow: lightness, water resistance, a surface that reads as machine-made even when shaped by hand. The finish is never neutral, colour and coating carry as much of the object's meaning as its silhouette.