Three raised copper roses fill a broad metal panel propped above a scarred workshop bench. Their rounded petals open at different heights along branching stems, with curled leaves and finely chased veins carrying the pattern towards the lower edge. Small hammer marks cover the surrounding copper, catching the window light in a quieter texture than the raised floral forms. A chasing hammer rests beside the panel, while steel punches lie in a row across the front of the bench.

Behind the metalwork, more hammers hang against pale, worn brick. Tall iron-framed windows admit warm autumn daylight through golden leaves outside. Dark wooden supports and a black pitch bowl give the copper a solid working context; a folded cloth and flat metal offcuts fill the nearest corner. The unoccupied workshop leaves the finished relief as the main subject, making its petal edges, leaf curves and hand-worked surface easy to study. Copper, wood, steel and old masonry provide a compact palette of warm brown and grey, tied together by the natural side light.