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Cast from decaying melon skins, each tile of REM Atelier's SURFACED CABINET is unique in detail and impression. Beauty from transience, a dynamic variety of shapes, depths and shades. REM Atelier’s work revolves aroundcontemplation of materiality, often led by an interest in organic structures and the process of organically shaped objects versus artificial representation. (Dog not for sale).

REM atelier is an art and design studio founded by Remty Elenga and Remco van Halderen based in Rotterdam, the Netherlands. Combining cutting-edge technology with craft techniques, REM atelier create distinctive objects with handcrafted essence.

Originals and private commissions pictured.
@rematelier

Cast from decaying melon skins, each tile of REM Atelier's SURFACED CABINET is unique in detail and impression. Beauty from transience, a dynamic variety of shapes, depths and shades. REM Atelier’s work revolves aroundcontemplation of materiality, often led by an interest in organic structures and the process of organically shaped objects versus artificial representation. (Dog not for sale).

REM atelier is an art and design studio founded by Remty Elenga and Remco van Halderen based in Rotterdam, the Netherlands. Combining cutting-edge technology with craft techniques, REM atelier create distinctive objects with handcrafted essence.

Originals and private commissions pictured.
@rematelier

Cast from decaying melon skins, each tile of REM Atelier's SURFACED CABINET is unique in detail and impression. Beauty from transience, a dynamic variety of shapes, depths and shades. REM Atelier’s work revolves aroundcontemplation of materiality, often led by an interest in organic structures and the process of organically shaped objects versus artificial representation. (Dog not for sale).

REM atelier is an art and design studio founded by Remty Elenga and Remco van Halderen based in Rotterdam, the Netherlands. Combining cutting-edge technology with craft techniques, REM atelier create distinctive objects with handcrafted essence.

Originals and private commissions pictured.
@rematelier

Cast from decaying melon skins, each tile of REM Atelier's SURFACED CABINET is unique in detail and impression. Beauty from transience, a dynamic variety of shapes, depths and shades. REM Atelier’s work revolves aroundcontemplation of materiality, often led by an interest in organic structures and the process of organically shaped objects versus artificial representation. (Dog not for sale).

REM atelier is an art and design studio founded by Remty Elenga and Remco van Halderen based in Rotterdam, the Netherlands. Combining cutting-edge technology with craft techniques, REM atelier create distinctive objects with handcrafted essence.

Originals and private commissions pictured.
@rematelier

Cast from decaying melon skins, each tile of REM Atelier's SURFACED CABINET is unique in detail and impression. Beauty from transience, a dynamic variety of shapes, depths and shades. REM Atelier’s work revolves aroundcontemplation of materiality, often led by an interest in organic structures and the process of organically shaped objects versus artificial representation. (Dog not for sale).

REM atelier is an art and design studio founded by Remty Elenga and Remco van Halderen based in Rotterdam, the Netherlands. Combining cutting-edge technology with craft techniques, REM atelier create distinctive objects with handcrafted essence.

Originals and private commissions pictured.
@rematelier

Cast from decaying melon skins, each tile of REM Atelier's SURFACED CABINET is unique in detail and impression. Beauty from transience, a dynamic variety of shapes, depths and shades. REM Atelier’s work revolves aroundcontemplation of materiality, often led by an interest in organic structures and the process of organically shaped objects versus artificial representation. (Dog not for sale).

REM atelier is an art and design studio founded by Remty Elenga and Remco van Halderen based in Rotterdam, the Netherlands. Combining cutting-edge technology with craft techniques, REM atelier create distinctive objects with handcrafted essence.

Originals and private commissions pictured.
@rematelier

Cast from decaying melon skins, each tile of REM Atelier's SURFACED CABINET is unique in detail and impression. Beauty from transience, a dynamic variety of shapes, depths and shades. REM Atelier’s work revolves aroundcontemplation of materiality, often led by an interest in organic structures and the process of organically shaped objects versus artificial representation. (Dog not for sale).

REM atelier is an art and design studio founded by Remty Elenga and Remco van Halderen based in Rotterdam, the Netherlands. Combining cutting-edge technology with craft techniques, REM atelier create distinctive objects with handcrafted essence.

Originals and private commissions pictured.
@rematelier

Cast from decaying melon skins, each tile of REM Atelier's SURFACED CABINET is unique in detail and impression. Beauty from transience, a dynamic variety of shapes, depths and shades. REM Atelier’s work revolves aroundcontemplation of materiality, often led by an interest in organic structures and the process of organically shaped objects versus artificial representation. (Dog not for sale).

REM atelier is an art and design studio founded by Remty Elenga and Remco van Halderen based in Rotterdam, the Netherlands. Combining cutting-edge technology with craft techniques, REM atelier create distinctive objects with handcrafted essence.

Originals and private commissions pictured.
@rematelier

Cast from decaying melon skins, each tile of REM Atelier's SURFACED CABINET is unique in detail and impression. Beauty from transience, a dynamic variety of shapes, depths and shades. REM Atelier’s work revolves aroundcontemplation of materiality, often led by an interest in organic structures and the process of organically shaped objects versus artificial representation. (Dog not for sale).

REM atelier is an art and design studio founded by Remty Elenga and Remco van Halderen based in Rotterdam, the Netherlands. Combining cutting-edge technology with craft techniques, REM atelier create distinctive objects with handcrafted essence.

Originals and private commissions pictured.
@rematelier

Some long (no longer) lost film from ‘Surrealistic Symphony’ an exhibit that brought Vincent Pocsik and Aaron Poritz, two masters of wood together. Inside a building never seen before along the Suhe Creek, an urban heritage site in Shanghai.

Fortuntely, nothing has changed both are still blowing us away, we can recycle what we said two Decembers ago:

The impermanence of nature and the infinite mystery of all
that cannot be seen within their fluid forms. Free from the burden of plain function or pure abstraction, these works create a melody you have not heard before.

@vincentpocsik @aaronporitz

Photos by @rainbo_15

Some long (no longer) lost film from ‘Surrealistic Symphony’ an exhibit that brought Vincent Pocsik and Aaron Poritz, two masters of wood together. Inside a building never seen before along the Suhe Creek, an urban heritage site in Shanghai.

Fortuntely, nothing has changed both are still blowing us away, we can recycle what we said two Decembers ago:

The impermanence of nature and the infinite mystery of all
that cannot be seen within their fluid forms. Free from the burden of plain function or pure abstraction, these works create a melody you have not heard before.

@vincentpocsik @aaronporitz

Photos by @rainbo_15

Some long (no longer) lost film from ‘Surrealistic Symphony’ an exhibit that brought Vincent Pocsik and Aaron Poritz, two masters of wood together. Inside a building never seen before along the Suhe Creek, an urban heritage site in Shanghai.

Fortuntely, nothing has changed both are still blowing us away, we can recycle what we said two Decembers ago:

The impermanence of nature and the infinite mystery of all
that cannot be seen within their fluid forms. Free from the burden of plain function or pure abstraction, these works create a melody you have not heard before.

@vincentpocsik @aaronporitz

Photos by @rainbo_15

Some long (no longer) lost film from ‘Surrealistic Symphony’ an exhibit that brought Vincent Pocsik and Aaron Poritz, two masters of wood together. Inside a building never seen before along the Suhe Creek, an urban heritage site in Shanghai.

Fortuntely, nothing has changed both are still blowing us away, we can recycle what we said two Decembers ago:

The impermanence of nature and the infinite mystery of all
that cannot be seen within their fluid forms. Free from the burden of plain function or pure abstraction, these works create a melody you have not heard before.

@vincentpocsik @aaronporitz

Photos by @rainbo_15

Some long (no longer) lost film from ‘Surrealistic Symphony’ an exhibit that brought Vincent Pocsik and Aaron Poritz, two masters of wood together. Inside a building never seen before along the Suhe Creek, an urban heritage site in Shanghai.

Fortuntely, nothing has changed both are still blowing us away, we can recycle what we said two Decembers ago:

The impermanence of nature and the infinite mystery of all
that cannot be seen within their fluid forms. Free from the burden of plain function or pure abstraction, these works create a melody you have not heard before.

@vincentpocsik @aaronporitz

Photos by @rainbo_15

Some long (no longer) lost film from ‘Surrealistic Symphony’ an exhibit that brought Vincent Pocsik and Aaron Poritz, two masters of wood together. Inside a building never seen before along the Suhe Creek, an urban heritage site in Shanghai.

Fortuntely, nothing has changed both are still blowing us away, we can recycle what we said two Decembers ago:

The impermanence of nature and the infinite mystery of all
that cannot be seen within their fluid forms. Free from the burden of plain function or pure abstraction, these works create a melody you have not heard before.

@vincentpocsik @aaronporitz

Photos by @rainbo_15

Some long (no longer) lost film from ‘Surrealistic Symphony’ an exhibit that brought Vincent Pocsik and Aaron Poritz, two masters of wood together. Inside a building never seen before along the Suhe Creek, an urban heritage site in Shanghai.

Fortuntely, nothing has changed both are still blowing us away, we can recycle what we said two Decembers ago:

The impermanence of nature and the infinite mystery of all
that cannot be seen within their fluid forms. Free from the burden of plain function or pure abstraction, these works create a melody you have not heard before.

@vincentpocsik @aaronporitz

Photos by @rainbo_15

ZHENHAN HAO, JIACAO Porcelain Series. Pictured here at our 'Made in China' group show, New York 2024. (@zhenhan.hao)

“Jiaocao” was once the most common porcelain packing practice, crucial to the global circulation of Chinese porcelain. Jiaocao brought people and land together through the porcelain production tradition.

However, the soil and insects jiaocao may carry became a threat to modernization and globalization, resulting in these “living things” grown out of earth being replaced by puffy plastic materials.

Tracing the tradition of jiaocao, Hao has created works that bring together ceramics and their packing material by way of preserving the history and memory of jiaocao.

Zhenhan Hao is a mixed-media artist seeking wonder and magic from the unappreciated, unfamiliar or hidden qualities of common materials, anonymous craftsmen and minor, related trades. By bridging different elements and exploring their separate contribution within a system, Hao generates the freshest of aesthetics and explores innovation in the manufacturing process.

ZHENHAN HAO, JIACAO Porcelain Series. Pictured here at our 'Made in China' group show, New York 2024. (@zhenhan.hao)

“Jiaocao” was once the most common porcelain packing practice, crucial to the global circulation of Chinese porcelain. Jiaocao brought people and land together through the porcelain production tradition.

However, the soil and insects jiaocao may carry became a threat to modernization and globalization, resulting in these “living things” grown out of earth being replaced by puffy plastic materials.

Tracing the tradition of jiaocao, Hao has created works that bring together ceramics and their packing material by way of preserving the history and memory of jiaocao.

Zhenhan Hao is a mixed-media artist seeking wonder and magic from the unappreciated, unfamiliar or hidden qualities of common materials, anonymous craftsmen and minor, related trades. By bridging different elements and exploring their separate contribution within a system, Hao generates the freshest of aesthetics and explores innovation in the manufacturing process.

ZHENHAN HAO, JIACAO Porcelain Series. Pictured here at our 'Made in China' group show, New York 2024. (@zhenhan.hao)

“Jiaocao” was once the most common porcelain packing practice, crucial to the global circulation of Chinese porcelain. Jiaocao brought people and land together through the porcelain production tradition.

However, the soil and insects jiaocao may carry became a threat to modernization and globalization, resulting in these “living things” grown out of earth being replaced by puffy plastic materials.

Tracing the tradition of jiaocao, Hao has created works that bring together ceramics and their packing material by way of preserving the history and memory of jiaocao.

Zhenhan Hao is a mixed-media artist seeking wonder and magic from the unappreciated, unfamiliar or hidden qualities of common materials, anonymous craftsmen and minor, related trades. By bridging different elements and exploring their separate contribution within a system, Hao generates the freshest of aesthetics and explores innovation in the manufacturing process.

ZHENHAN HAO, JIACAO Porcelain Series. Pictured here at our 'Made in China' group show, New York 2024. (@zhenhan.hao)

“Jiaocao” was once the most common porcelain packing practice, crucial to the global circulation of Chinese porcelain. Jiaocao brought people and land together through the porcelain production tradition.

However, the soil and insects jiaocao may carry became a threat to modernization and globalization, resulting in these “living things” grown out of earth being replaced by puffy plastic materials.

Tracing the tradition of jiaocao, Hao has created works that bring together ceramics and their packing material by way of preserving the history and memory of jiaocao.

Zhenhan Hao is a mixed-media artist seeking wonder and magic from the unappreciated, unfamiliar or hidden qualities of common materials, anonymous craftsmen and minor, related trades. By bridging different elements and exploring their separate contribution within a system, Hao generates the freshest of aesthetics and explores innovation in the manufacturing process.

ZHENHAN HAO, JIACAO Porcelain Series. Pictured here at our 'Made in China' group show, New York 2024. (@zhenhan.hao)

“Jiaocao” was once the most common porcelain packing practice, crucial to the global circulation of Chinese porcelain. Jiaocao brought people and land together through the porcelain production tradition.

However, the soil and insects jiaocao may carry became a threat to modernization and globalization, resulting in these “living things” grown out of earth being replaced by puffy plastic materials.

Tracing the tradition of jiaocao, Hao has created works that bring together ceramics and their packing material by way of preserving the history and memory of jiaocao.

Zhenhan Hao is a mixed-media artist seeking wonder and magic from the unappreciated, unfamiliar or hidden qualities of common materials, anonymous craftsmen and minor, related trades. By bridging different elements and exploring their separate contribution within a system, Hao generates the freshest of aesthetics and explores innovation in the manufacturing process.

ZHENHAN HAO, JIACAO Porcelain Series. Pictured here at our 'Made in China' group show, New York 2024. (@zhenhan.hao)

“Jiaocao” was once the most common porcelain packing practice, crucial to the global circulation of Chinese porcelain. Jiaocao brought people and land together through the porcelain production tradition.

However, the soil and insects jiaocao may carry became a threat to modernization and globalization, resulting in these “living things” grown out of earth being replaced by puffy plastic materials.

Tracing the tradition of jiaocao, Hao has created works that bring together ceramics and their packing material by way of preserving the history and memory of jiaocao.

Zhenhan Hao is a mixed-media artist seeking wonder and magic from the unappreciated, unfamiliar or hidden qualities of common materials, anonymous craftsmen and minor, related trades. By bridging different elements and exploring their separate contribution within a system, Hao generates the freshest of aesthetics and explores innovation in the manufacturing process.

Trumpet Dining Chair (Singular Collection)
Sam Klemick

Once a fashion designer, Klemick left the industry’s waste to pursue furniture design. With an emphasis on circular-methods of production Klemick migrates her expertise in textiles, tailoring, transforming the delicate details of a garment hanging, cinched, slung into wood.

If the need for a second glance signifies an interesting piece, Klemick’s work could teach a masterclass. Always follow up visits, bets on whether it is in fact wood: “I had to get a closer look.” “Can I touch?”

Pictured at Collectible New York 2025, ‘In Praise of Folly’.
Film photo: @hannahsawildparty @thestudiodelane 
Digital: Simon Leung

Trumpet Dining Chair (Singular Collection)
Sam Klemick

Once a fashion designer, Klemick left the industry’s waste to pursue furniture design. With an emphasis on circular-methods of production Klemick migrates her expertise in textiles, tailoring, transforming the delicate details of a garment hanging, cinched, slung into wood.

If the need for a second glance signifies an interesting piece, Klemick’s work could teach a masterclass. Always follow up visits, bets on whether it is in fact wood: “I had to get a closer look.” “Can I touch?”

Pictured at Collectible New York 2025, ‘In Praise of Folly’.
Film photo: @hannahsawildparty @thestudiodelane 
Digital: Simon Leung

Trumpet Dining Chair (Singular Collection)
Sam Klemick

Once a fashion designer, Klemick left the industry’s waste to pursue furniture design. With an emphasis on circular-methods of production Klemick migrates her expertise in textiles, tailoring, transforming the delicate details of a garment hanging, cinched, slung into wood.

If the need for a second glance signifies an interesting piece, Klemick’s work could teach a masterclass. Always follow up visits, bets on whether it is in fact wood: “I had to get a closer look.” “Can I touch?”

Pictured at Collectible New York 2025, ‘In Praise of Folly’.
Film photo: @hannahsawildparty @thestudiodelane 
Digital: Simon Leung

Trumpet Dining Chair (Singular Collection)
Sam Klemick

Once a fashion designer, Klemick left the industry’s waste to pursue furniture design. With an emphasis on circular-methods of production Klemick migrates her expertise in textiles, tailoring, transforming the delicate details of a garment hanging, cinched, slung into wood.

If the need for a second glance signifies an interesting piece, Klemick’s work could teach a masterclass. Always follow up visits, bets on whether it is in fact wood: “I had to get a closer look.” “Can I touch?”

Pictured at Collectible New York 2025, ‘In Praise of Folly’.
Film photo: @hannahsawildparty @thestudiodelane 
Digital: Simon Leung

Trumpet Dining Chair (Singular Collection)
Sam Klemick

Once a fashion designer, Klemick left the industry’s waste to pursue furniture design. With an emphasis on circular-methods of production Klemick migrates her expertise in textiles, tailoring, transforming the delicate details of a garment hanging, cinched, slung into wood.

If the need for a second glance signifies an interesting piece, Klemick’s work could teach a masterclass. Always follow up visits, bets on whether it is in fact wood: “I had to get a closer look.” “Can I touch?”

Pictured at Collectible New York 2025, ‘In Praise of Folly’.
Film photo: @hannahsawildparty @thestudiodelane 
Digital: Simon Leung

Soft Boulder, hi!breed Chair, 2021.
Charlotte Kingsnorth

An Edwardian Draper Chair skeleton, repaired and ressurected by the artist.
Faux-fur boulder seat sculpted by hand.

Biomorphic forms adorn repaired originals in CK’s inimitable process: one might call “character building” (we do).

Soft Boulder, hi!breed Chair, 2021.
Charlotte Kingsnorth

An Edwardian Draper Chair skeleton, repaired and ressurected by the artist.
Faux-fur boulder seat sculpted by hand.

Biomorphic forms adorn repaired originals in CK’s inimitable process: one might call “character building” (we do).

Soft Boulder, hi!breed Chair, 2021.
Charlotte Kingsnorth

An Edwardian Draper Chair skeleton, repaired and ressurected by the artist.
Faux-fur boulder seat sculpted by hand.

Biomorphic forms adorn repaired originals in CK’s inimitable process: one might call “character building” (we do).

Soft Boulder, hi!breed Chair, 2021.
Charlotte Kingsnorth

An Edwardian Draper Chair skeleton, repaired and ressurected by the artist.
Faux-fur boulder seat sculpted by hand.

Biomorphic forms adorn repaired originals in CK’s inimitable process: one might call “character building” (we do).

Soft Boulder, hi!breed Chair, 2021.
Charlotte Kingsnorth

An Edwardian Draper Chair skeleton, repaired and ressurected by the artist.
Faux-fur boulder seat sculpted by hand.

Biomorphic forms adorn repaired originals in CK’s inimitable process: one might call “character building” (we do).

Soft Boulder, hi!breed Chair, 2021.
Charlotte Kingsnorth

An Edwardian Draper Chair skeleton, repaired and ressurected by the artist.
Faux-fur boulder seat sculpted by hand.

Biomorphic forms adorn repaired originals in CK’s inimitable process: one might call “character building” (we do).

Soft Boulder, hi!breed Chair, 2021.
Charlotte Kingsnorth

An Edwardian Draper Chair skeleton, repaired and ressurected by the artist.
Faux-fur boulder seat sculpted by hand.

Biomorphic forms adorn repaired originals in CK’s inimitable process: one might call “character building” (we do).

Soft Boulder, hi!breed Chair, 2021.
Charlotte Kingsnorth

An Edwardian Draper Chair skeleton, repaired and ressurected by the artist.
Faux-fur boulder seat sculpted by hand.

Biomorphic forms adorn repaired originals in CK’s inimitable process: one might call “character building” (we do).

Yes it's nice when your friends are friends but much better is when designers get together and get to work.

‘Bolete’ Side Table Ink Finished Wood, Stone Base
Henry D’Ath with Batten and Kamp
Working in collaboration

‘Bolete’ is a twist of fate. Two pieces made for two separate works found new assembly.

Slick contemporary weighted in raw organic materials seems appropriate for the New Zealand bred China-based artists, somewhat of a geographic assemblage themselves.

Yes it's nice when your friends are friends but much better is when designers get together and get to work.

‘Bolete’ Side Table Ink Finished Wood, Stone Base
Henry D’Ath with Batten and Kamp
Working in collaboration

‘Bolete’ is a twist of fate. Two pieces made for two separate works found new assembly.

Slick contemporary weighted in raw organic materials seems appropriate for the New Zealand bred China-based artists, somewhat of a geographic assemblage themselves.

Yes it's nice when your friends are friends but much better is when designers get together and get to work.

‘Bolete’ Side Table Ink Finished Wood, Stone Base
Henry D’Ath with Batten and Kamp
Working in collaboration

‘Bolete’ is a twist of fate. Two pieces made for two separate works found new assembly.

Slick contemporary weighted in raw organic materials seems appropriate for the New Zealand bred China-based artists, somewhat of a geographic assemblage themselves.

Yes it's nice when your friends are friends but much better is when designers get together and get to work.

‘Bolete’ Side Table Ink Finished Wood, Stone Base
Henry D’Ath with Batten and Kamp
Working in collaboration

‘Bolete’ is a twist of fate. Two pieces made for two separate works found new assembly.

Slick contemporary weighted in raw organic materials seems appropriate for the New Zealand bred China-based artists, somewhat of a geographic assemblage themselves.

Yes it's nice when your friends are friends but much better is when designers get together and get to work.

‘Bolete’ Side Table Ink Finished Wood, Stone Base
Henry D’Ath with Batten and Kamp
Working in collaboration

‘Bolete’ is a twist of fate. Two pieces made for two separate works found new assembly.

Slick contemporary weighted in raw organic materials seems appropriate for the New Zealand bred China-based artists, somewhat of a geographic assemblage themselves.

Yes it's nice when your friends are friends but much better is when designers get together and get to work.

‘Bolete’ Side Table Ink Finished Wood, Stone Base
Henry D’Ath with Batten and Kamp
Working in collaboration

‘Bolete’ is a twist of fate. Two pieces made for two separate works found new assembly.

Slick contemporary weighted in raw organic materials seems appropriate for the New Zealand bred China-based artists, somewhat of a geographic assemblage themselves.

You know how people say Paris is never a bad idea. Well not every year is a time for Miami.

The gallery is partial to quiet until we have something important to say, and an exceptional way to tell it.

Nonetheless, we reminisce on our past Design Miami presentations and all the incredible talent we had along with us across the years.

You know how people say Paris is never a bad idea. Well not every year is a time for Miami.

The gallery is partial to quiet until we have something important to say, and an exceptional way to tell it.

Nonetheless, we reminisce on our past Design Miami presentations and all the incredible talent we had along with us across the years.

You know how people say Paris is never a bad idea. Well not every year is a time for Miami.

The gallery is partial to quiet until we have something important to say, and an exceptional way to tell it.

Nonetheless, we reminisce on our past Design Miami presentations and all the incredible talent we had along with us across the years.

You know how people say Paris is never a bad idea. Well not every year is a time for Miami.

The gallery is partial to quiet until we have something important to say, and an exceptional way to tell it.

Nonetheless, we reminisce on our past Design Miami presentations and all the incredible talent we had along with us across the years.

You know how people say Paris is never a bad idea. Well not every year is a time for Miami.

The gallery is partial to quiet until we have something important to say, and an exceptional way to tell it.

Nonetheless, we reminisce on our past Design Miami presentations and all the incredible talent we had along with us across the years.

“Reality” unfastened its seatbelt rolled from moving vehicle, society’s carpool, long before Charlotte Kingsnorth’s debut New York show in May 2023.

But ‘Animalistic Tendencies’ made a day of it; cordially inviting you to take a seat, get comfortable and question reality as it is, had been or never was.

Lawerence Weiner said art is “where you try to do that funny thing where you don’t want to fuck up somebody’s day on their way to work, you want to fuck up their whole life.”

Plinths skinned in hi-res hyper-real rocks; color matched walls to floor thinned the visible edges. Like a car on The Price is Right, chairs in visible metamorphisis spin on mechanic platform, sculpted and stitched, half-creature half-comfort.

Discomfort is not the goal but a byproduct of the uncanny.

Led by instinct, Kingsnorth deepened the techniques and ideas she alone is known for; what distinguish her as a one of kind artist. Salvaging and restoring pre-existing furniture frames; an act of intervention, sans the divinity.

Hyperreality. Thank god that’s all behind us now…

To know more about Charlotte's work, email or DM.
@charlottekingsnorth

Photos by @simonleungphoto
Show text by @everythingsfineandthat

“Reality” unfastened its seatbelt rolled from moving vehicle, society’s carpool, long before Charlotte Kingsnorth’s debut New York show in May 2023.

But ‘Animalistic Tendencies’ made a day of it; cordially inviting you to take a seat, get comfortable and question reality as it is, had been or never was.

Lawerence Weiner said art is “where you try to do that funny thing where you don’t want to fuck up somebody’s day on their way to work, you want to fuck up their whole life.”

Plinths skinned in hi-res hyper-real rocks; color matched walls to floor thinned the visible edges. Like a car on The Price is Right, chairs in visible metamorphisis spin on mechanic platform, sculpted and stitched, half-creature half-comfort.

Discomfort is not the goal but a byproduct of the uncanny.

Led by instinct, Kingsnorth deepened the techniques and ideas she alone is known for; what distinguish her as a one of kind artist. Salvaging and restoring pre-existing furniture frames; an act of intervention, sans the divinity.

Hyperreality. Thank god that’s all behind us now…

To know more about Charlotte's work, email or DM.
@charlottekingsnorth

Photos by @simonleungphoto
Show text by @everythingsfineandthat

“Reality” unfastened its seatbelt rolled from moving vehicle, society’s carpool, long before Charlotte Kingsnorth’s debut New York show in May 2023.

But ‘Animalistic Tendencies’ made a day of it; cordially inviting you to take a seat, get comfortable and question reality as it is, had been or never was.

Lawerence Weiner said art is “where you try to do that funny thing where you don’t want to fuck up somebody’s day on their way to work, you want to fuck up their whole life.”

Plinths skinned in hi-res hyper-real rocks; color matched walls to floor thinned the visible edges. Like a car on The Price is Right, chairs in visible metamorphisis spin on mechanic platform, sculpted and stitched, half-creature half-comfort.

Discomfort is not the goal but a byproduct of the uncanny.

Led by instinct, Kingsnorth deepened the techniques and ideas she alone is known for; what distinguish her as a one of kind artist. Salvaging and restoring pre-existing furniture frames; an act of intervention, sans the divinity.

Hyperreality. Thank god that’s all behind us now…

To know more about Charlotte's work, email or DM.
@charlottekingsnorth

Photos by @simonleungphoto
Show text by @everythingsfineandthat

“Reality” unfastened its seatbelt rolled from moving vehicle, society’s carpool, long before Charlotte Kingsnorth’s debut New York show in May 2023.

But ‘Animalistic Tendencies’ made a day of it; cordially inviting you to take a seat, get comfortable and question reality as it is, had been or never was.

Lawerence Weiner said art is “where you try to do that funny thing where you don’t want to fuck up somebody’s day on their way to work, you want to fuck up their whole life.”

Plinths skinned in hi-res hyper-real rocks; color matched walls to floor thinned the visible edges. Like a car on The Price is Right, chairs in visible metamorphisis spin on mechanic platform, sculpted and stitched, half-creature half-comfort.

Discomfort is not the goal but a byproduct of the uncanny.

Led by instinct, Kingsnorth deepened the techniques and ideas she alone is known for; what distinguish her as a one of kind artist. Salvaging and restoring pre-existing furniture frames; an act of intervention, sans the divinity.

Hyperreality. Thank god that’s all behind us now…

To know more about Charlotte's work, email or DM.
@charlottekingsnorth

Photos by @simonleungphoto
Show text by @everythingsfineandthat

“Reality” unfastened its seatbelt rolled from moving vehicle, society’s carpool, long before Charlotte Kingsnorth’s debut New York show in May 2023.

But ‘Animalistic Tendencies’ made a day of it; cordially inviting you to take a seat, get comfortable and question reality as it is, had been or never was.

Lawerence Weiner said art is “where you try to do that funny thing where you don’t want to fuck up somebody’s day on their way to work, you want to fuck up their whole life.”

Plinths skinned in hi-res hyper-real rocks; color matched walls to floor thinned the visible edges. Like a car on The Price is Right, chairs in visible metamorphisis spin on mechanic platform, sculpted and stitched, half-creature half-comfort.

Discomfort is not the goal but a byproduct of the uncanny.

Led by instinct, Kingsnorth deepened the techniques and ideas she alone is known for; what distinguish her as a one of kind artist. Salvaging and restoring pre-existing furniture frames; an act of intervention, sans the divinity.

Hyperreality. Thank god that’s all behind us now…

To know more about Charlotte's work, email or DM.
@charlottekingsnorth

Photos by @simonleungphoto
Show text by @everythingsfineandthat

“Reality” unfastened its seatbelt rolled from moving vehicle, society’s carpool, long before Charlotte Kingsnorth’s debut New York show in May 2023.

But ‘Animalistic Tendencies’ made a day of it; cordially inviting you to take a seat, get comfortable and question reality as it is, had been or never was.

Lawerence Weiner said art is “where you try to do that funny thing where you don’t want to fuck up somebody’s day on their way to work, you want to fuck up their whole life.”

Plinths skinned in hi-res hyper-real rocks; color matched walls to floor thinned the visible edges. Like a car on The Price is Right, chairs in visible metamorphisis spin on mechanic platform, sculpted and stitched, half-creature half-comfort.

Discomfort is not the goal but a byproduct of the uncanny.

Led by instinct, Kingsnorth deepened the techniques and ideas she alone is known for; what distinguish her as a one of kind artist. Salvaging and restoring pre-existing furniture frames; an act of intervention, sans the divinity.

Hyperreality. Thank god that’s all behind us now…

To know more about Charlotte's work, email or DM.
@charlottekingsnorth

Photos by @simonleungphoto
Show text by @everythingsfineandthat

“Reality” unfastened its seatbelt rolled from moving vehicle, society’s carpool, long before Charlotte Kingsnorth’s debut New York show in May 2023.

But ‘Animalistic Tendencies’ made a day of it; cordially inviting you to take a seat, get comfortable and question reality as it is, had been or never was.

Lawerence Weiner said art is “where you try to do that funny thing where you don’t want to fuck up somebody’s day on their way to work, you want to fuck up their whole life.”

Plinths skinned in hi-res hyper-real rocks; color matched walls to floor thinned the visible edges. Like a car on The Price is Right, chairs in visible metamorphisis spin on mechanic platform, sculpted and stitched, half-creature half-comfort.

Discomfort is not the goal but a byproduct of the uncanny.

Led by instinct, Kingsnorth deepened the techniques and ideas she alone is known for; what distinguish her as a one of kind artist. Salvaging and restoring pre-existing furniture frames; an act of intervention, sans the divinity.

Hyperreality. Thank god that’s all behind us now…

To know more about Charlotte's work, email or DM.
@charlottekingsnorth

Photos by @simonleungphoto
Show text by @everythingsfineandthat

“Reality” unfastened its seatbelt rolled from moving vehicle, society’s carpool, long before Charlotte Kingsnorth’s debut New York show in May 2023.

But ‘Animalistic Tendencies’ made a day of it; cordially inviting you to take a seat, get comfortable and question reality as it is, had been or never was.

Lawerence Weiner said art is “where you try to do that funny thing where you don’t want to fuck up somebody’s day on their way to work, you want to fuck up their whole life.”

Plinths skinned in hi-res hyper-real rocks; color matched walls to floor thinned the visible edges. Like a car on The Price is Right, chairs in visible metamorphisis spin on mechanic platform, sculpted and stitched, half-creature half-comfort.

Discomfort is not the goal but a byproduct of the uncanny.

Led by instinct, Kingsnorth deepened the techniques and ideas she alone is known for; what distinguish her as a one of kind artist. Salvaging and restoring pre-existing furniture frames; an act of intervention, sans the divinity.

Hyperreality. Thank god that’s all behind us now…

To know more about Charlotte's work, email or DM.
@charlottekingsnorth

Photos by @simonleungphoto
Show text by @everythingsfineandthat

“In my studio-laboratory, inspiration emerges from doing and redoing, from observing how light catches on matter, or how heat and cooling literally freezes a moment in metal.”

'Water Stem Lamp'
Hélène de Saint Lager
12 Numbered
Bronze, Loofah (Vegetable Sponge)

“First and foremost, nature - the slow logics of growth, erosion, and layering. There are also the people who commission the pieces: their stories and constraints provide direction. In my studio-laboratory on the outskirts of Paris, inspiration emerges from doing and redoing, from observing how light catches on matter, or how heat and cooling literally freeze a moment in metal.”

We could move on from THEMA, but we don't want to. Too much talent and exceptional design would go to waste.

DM to know more about Hélène de Saint Lager’s work.

@helenedesaintlager @thema

“In my studio-laboratory, inspiration emerges from doing and redoing, from observing how light catches on matter, or how heat and cooling literally freezes a moment in metal.”

'Water Stem Lamp'
Hélène de Saint Lager
12 Numbered
Bronze, Loofah (Vegetable Sponge)

“First and foremost, nature - the slow logics of growth, erosion, and layering. There are also the people who commission the pieces: their stories and constraints provide direction. In my studio-laboratory on the outskirts of Paris, inspiration emerges from doing and redoing, from observing how light catches on matter, or how heat and cooling literally freeze a moment in metal.”

We could move on from THEMA, but we don't want to. Too much talent and exceptional design would go to waste.

DM to know more about Hélène de Saint Lager’s work.

@helenedesaintlager @thema

“In my studio-laboratory, inspiration emerges from doing and redoing, from observing how light catches on matter, or how heat and cooling literally freezes a moment in metal.”

'Water Stem Lamp'
Hélène de Saint Lager
12 Numbered
Bronze, Loofah (Vegetable Sponge)

“First and foremost, nature - the slow logics of growth, erosion, and layering. There are also the people who commission the pieces: their stories and constraints provide direction. In my studio-laboratory on the outskirts of Paris, inspiration emerges from doing and redoing, from observing how light catches on matter, or how heat and cooling literally freeze a moment in metal.”

We could move on from THEMA, but we don't want to. Too much talent and exceptional design would go to waste.

DM to know more about Hélène de Saint Lager’s work.

@helenedesaintlager @thema

“In my studio-laboratory, inspiration emerges from doing and redoing, from observing how light catches on matter, or how heat and cooling literally freezes a moment in metal.”

'Water Stem Lamp'
Hélène de Saint Lager
12 Numbered
Bronze, Loofah (Vegetable Sponge)

“First and foremost, nature - the slow logics of growth, erosion, and layering. There are also the people who commission the pieces: their stories and constraints provide direction. In my studio-laboratory on the outskirts of Paris, inspiration emerges from doing and redoing, from observing how light catches on matter, or how heat and cooling literally freeze a moment in metal.”

We could move on from THEMA, but we don't want to. Too much talent and exceptional design would go to waste.

DM to know more about Hélène de Saint Lager’s work.

@helenedesaintlager @thema

“In my studio-laboratory, inspiration emerges from doing and redoing, from observing how light catches on matter, or how heat and cooling literally freezes a moment in metal.”

'Water Stem Lamp'
Hélène de Saint Lager
12 Numbered
Bronze, Loofah (Vegetable Sponge)

“First and foremost, nature - the slow logics of growth, erosion, and layering. There are also the people who commission the pieces: their stories and constraints provide direction. In my studio-laboratory on the outskirts of Paris, inspiration emerges from doing and redoing, from observing how light catches on matter, or how heat and cooling literally freeze a moment in metal.”

We could move on from THEMA, but we don't want to. Too much talent and exceptional design would go to waste.

DM to know more about Hélène de Saint Lager’s work.

@helenedesaintlager @thema

“Perfect things are finite. A perfect thing longs to stay forever as it is but will inevitably change or deteriorate. I find comfort in this thought.”

'Meteoro Lagoa Chair’
Beltran De Montauzon
5 Edition + 2 AP
Patinated Steel

“Perfect things are finite. A perfect thing longs to stay forever as it is, but inevitably will change or deteriorate. I find more peace in a savage ocean than a tranquil sea. The uncertainty, waves, the danger. I try to show this roughness in my work. I like irregularity and imperfections.”

Catalog available upon request.
@beltrandemontauzon

“Perfect things are finite. A perfect thing longs to stay forever as it is but will inevitably change or deteriorate. I find comfort in this thought.”

'Meteoro Lagoa Chair’
Beltran De Montauzon
5 Edition + 2 AP
Patinated Steel

“Perfect things are finite. A perfect thing longs to stay forever as it is, but inevitably will change or deteriorate. I find more peace in a savage ocean than a tranquil sea. The uncertainty, waves, the danger. I try to show this roughness in my work. I like irregularity and imperfections.”

Catalog available upon request.
@beltrandemontauzon

“Perfect things are finite. A perfect thing longs to stay forever as it is but will inevitably change or deteriorate. I find comfort in this thought.”

'Meteoro Lagoa Chair’
Beltran De Montauzon
5 Edition + 2 AP
Patinated Steel

“Perfect things are finite. A perfect thing longs to stay forever as it is, but inevitably will change or deteriorate. I find more peace in a savage ocean than a tranquil sea. The uncertainty, waves, the danger. I try to show this roughness in my work. I like irregularity and imperfections.”

Catalog available upon request.
@beltrandemontauzon

“Perfect things are finite. A perfect thing longs to stay forever as it is but will inevitably change or deteriorate. I find comfort in this thought.”

'Meteoro Lagoa Chair’
Beltran De Montauzon
5 Edition + 2 AP
Patinated Steel

“Perfect things are finite. A perfect thing longs to stay forever as it is, but inevitably will change or deteriorate. I find more peace in a savage ocean than a tranquil sea. The uncertainty, waves, the danger. I try to show this roughness in my work. I like irregularity and imperfections.”

Catalog available upon request.
@beltrandemontauzon

"NO MOLD. NO REPETITION. NO SHORTCUTS. EACH PIECE I CREATE IS SCULPTED BY HAND. HOURS OF SILENCE.”

WILLIAM GUILLON: ‘OMNIA VANITAS’ COLLECTION
Cast Gold Bronze.

William Guillon creations echo a fascination for imperfect beauty, emotional depth, and the haunting grace of the unfinished. Rooted in a neo-romantic and tragic aesthetic, his preferred material is cast bronze. No molds. Every piece is handmade in his Bordeaux studio, signed and numbered.

To know more about the work of William Guillon or THEMA, DM or email.

"NO MOLD. NO REPETITION. NO SHORTCUTS. EACH PIECE I CREATE IS SCULPTED BY HAND. HOURS OF SILENCE.”

WILLIAM GUILLON: ‘OMNIA VANITAS’ COLLECTION
Cast Gold Bronze.

William Guillon creations echo a fascination for imperfect beauty, emotional depth, and the haunting grace of the unfinished. Rooted in a neo-romantic and tragic aesthetic, his preferred material is cast bronze. No molds. Every piece is handmade in his Bordeaux studio, signed and numbered.

To know more about the work of William Guillon or THEMA, DM or email.

"NO MOLD. NO REPETITION. NO SHORTCUTS. EACH PIECE I CREATE IS SCULPTED BY HAND. HOURS OF SILENCE.”

WILLIAM GUILLON: ‘OMNIA VANITAS’ COLLECTION
Cast Gold Bronze.

William Guillon creations echo a fascination for imperfect beauty, emotional depth, and the haunting grace of the unfinished. Rooted in a neo-romantic and tragic aesthetic, his preferred material is cast bronze. No molds. Every piece is handmade in his Bordeaux studio, signed and numbered.

To know more about the work of William Guillon or THEMA, DM or email.

"NO MOLD. NO REPETITION. NO SHORTCUTS. EACH PIECE I CREATE IS SCULPTED BY HAND. HOURS OF SILENCE.”

WILLIAM GUILLON: ‘OMNIA VANITAS’ COLLECTION
Cast Gold Bronze.

William Guillon creations echo a fascination for imperfect beauty, emotional depth, and the haunting grace of the unfinished. Rooted in a neo-romantic and tragic aesthetic, his preferred material is cast bronze. No molds. Every piece is handmade in his Bordeaux studio, signed and numbered.

To know more about the work of William Guillon or THEMA, DM or email.

"NO MOLD. NO REPETITION. NO SHORTCUTS. EACH PIECE I CREATE IS SCULPTED BY HAND. HOURS OF SILENCE.”

WILLIAM GUILLON: ‘OMNIA VANITAS’ COLLECTION
Cast Gold Bronze.

William Guillon creations echo a fascination for imperfect beauty, emotional depth, and the haunting grace of the unfinished. Rooted in a neo-romantic and tragic aesthetic, his preferred material is cast bronze. No molds. Every piece is handmade in his Bordeaux studio, signed and numbered.

To know more about the work of William Guillon or THEMA, DM or email.

"NO MOLD. NO REPETITION. NO SHORTCUTS. EACH PIECE I CREATE IS SCULPTED BY HAND. HOURS OF SILENCE.”

WILLIAM GUILLON: ‘OMNIA VANITAS’ COLLECTION
Cast Gold Bronze.

William Guillon creations echo a fascination for imperfect beauty, emotional depth, and the haunting grace of the unfinished. Rooted in a neo-romantic and tragic aesthetic, his preferred material is cast bronze. No molds. Every piece is handmade in his Bordeaux studio, signed and numbered.

To know more about the work of William Guillon or THEMA, DM or email.

"NO MOLD. NO REPETITION. NO SHORTCUTS. EACH PIECE I CREATE IS SCULPTED BY HAND. HOURS OF SILENCE.”

WILLIAM GUILLON: ‘OMNIA VANITAS’ COLLECTION
Cast Gold Bronze.

William Guillon creations echo a fascination for imperfect beauty, emotional depth, and the haunting grace of the unfinished. Rooted in a neo-romantic and tragic aesthetic, his preferred material is cast bronze. No molds. Every piece is handmade in his Bordeaux studio, signed and numbered.

To know more about the work of William Guillon or THEMA, DM or email.

"NO MOLD. NO REPETITION. NO SHORTCUTS. EACH PIECE I CREATE IS SCULPTED BY HAND. HOURS OF SILENCE.”

WILLIAM GUILLON: ‘OMNIA VANITAS’ COLLECTION
Cast Gold Bronze.

William Guillon creations echo a fascination for imperfect beauty, emotional depth, and the haunting grace of the unfinished. Rooted in a neo-romantic and tragic aesthetic, his preferred material is cast bronze. No molds. Every piece is handmade in his Bordeaux studio, signed and numbered.

To know more about the work of William Guillon or THEMA, DM or email.

250 LAYERS OF SYCAMORE.
THE EROSION OF A STONE ; WIND MOVING THROUGH A CLIFFSIDE, AN IMPRESSION HAND SHAPED.

Who Has the Time?

‘Eclosion’ Light Sculpture
TOR NERIA ROTHSCHILD

OBJ: It can never work if the design is missing _____ ?
TNR: The question “Why?” at every step, there has to be a reason for a design choice. If there isn’t, it doesn’t belong.”

//
‘What the Cocoon Remembers’

A sculptural lighting series by Tor Neria Rothschild

What remains in us, even as everything else shifts? 

In honouring the cocoon not just as a vessel of change, but as a keeper of memory, ‘What the Cocoon Remembers' is a study of transformation as continuity — of becoming without forgetting.

Eclosion light captures the precise moment of becoming — when containment gives way to emergence. The exact moment when something dormant breaks open into life.

In nature, eclosion is the instant a chrysalis splits and a butterfly begins to unfold: fragile, raw, and still touched by stillness.

Carved from 250 layers of sycamore and hand-shaped to echo the erosion of stone and the movement of wind across cliff faces, the piece holds tension between solidity and transformation.

“Eclosion light captures the precise moment of becoming — when containment gives way to emergence. The exact moment when something dormant breaks open into life. 

In nature, eclosion is the instant a chrysalis splits and a butterfly begins to unfold: fragile, raw, and still touched by stillness.

This is a sculpture of thresholds: between dark and light, weight and lift, stillness and movement. Eclosion is not the end of metamorphosis — it is the vulnerable, vital moment when the change reveals itself.”

@thema
@torrothschild

250 LAYERS OF SYCAMORE.
THE EROSION OF A STONE ; WIND MOVING THROUGH A CLIFFSIDE, AN IMPRESSION HAND SHAPED.

Who Has the Time?

‘Eclosion’ Light Sculpture
TOR NERIA ROTHSCHILD

OBJ: It can never work if the design is missing _____ ?
TNR: The question “Why?” at every step, there has to be a reason for a design choice. If there isn’t, it doesn’t belong.”

//
‘What the Cocoon Remembers’

A sculptural lighting series by Tor Neria Rothschild

What remains in us, even as everything else shifts? 

In honouring the cocoon not just as a vessel of change, but as a keeper of memory, ‘What the Cocoon Remembers' is a study of transformation as continuity — of becoming without forgetting.

Eclosion light captures the precise moment of becoming — when containment gives way to emergence. The exact moment when something dormant breaks open into life.

In nature, eclosion is the instant a chrysalis splits and a butterfly begins to unfold: fragile, raw, and still touched by stillness.

Carved from 250 layers of sycamore and hand-shaped to echo the erosion of stone and the movement of wind across cliff faces, the piece holds tension between solidity and transformation.

“Eclosion light captures the precise moment of becoming — when containment gives way to emergence. The exact moment when something dormant breaks open into life. 

In nature, eclosion is the instant a chrysalis splits and a butterfly begins to unfold: fragile, raw, and still touched by stillness.

This is a sculpture of thresholds: between dark and light, weight and lift, stillness and movement. Eclosion is not the end of metamorphosis — it is the vulnerable, vital moment when the change reveals itself.”

@thema
@torrothschild

250 LAYERS OF SYCAMORE.
THE EROSION OF A STONE ; WIND MOVING THROUGH A CLIFFSIDE, AN IMPRESSION HAND SHAPED.

Who Has the Time?

‘Eclosion’ Light Sculpture
TOR NERIA ROTHSCHILD

OBJ: It can never work if the design is missing _____ ?
TNR: The question “Why?” at every step, there has to be a reason for a design choice. If there isn’t, it doesn’t belong.”

//
‘What the Cocoon Remembers’

A sculptural lighting series by Tor Neria Rothschild

What remains in us, even as everything else shifts? 

In honouring the cocoon not just as a vessel of change, but as a keeper of memory, ‘What the Cocoon Remembers' is a study of transformation as continuity — of becoming without forgetting.

Eclosion light captures the precise moment of becoming — when containment gives way to emergence. The exact moment when something dormant breaks open into life.

In nature, eclosion is the instant a chrysalis splits and a butterfly begins to unfold: fragile, raw, and still touched by stillness.

Carved from 250 layers of sycamore and hand-shaped to echo the erosion of stone and the movement of wind across cliff faces, the piece holds tension between solidity and transformation.

“Eclosion light captures the precise moment of becoming — when containment gives way to emergence. The exact moment when something dormant breaks open into life. 

In nature, eclosion is the instant a chrysalis splits and a butterfly begins to unfold: fragile, raw, and still touched by stillness.

This is a sculpture of thresholds: between dark and light, weight and lift, stillness and movement. Eclosion is not the end of metamorphosis — it is the vulnerable, vital moment when the change reveals itself.”

@thema
@torrothschild

250 LAYERS OF SYCAMORE.
THE EROSION OF A STONE ; WIND MOVING THROUGH A CLIFFSIDE, AN IMPRESSION HAND SHAPED.

Who Has the Time?

‘Eclosion’ Light Sculpture
TOR NERIA ROTHSCHILD

OBJ: It can never work if the design is missing _____ ?
TNR: The question “Why?” at every step, there has to be a reason for a design choice. If there isn’t, it doesn’t belong.”

//
‘What the Cocoon Remembers’

A sculptural lighting series by Tor Neria Rothschild

What remains in us, even as everything else shifts? 

In honouring the cocoon not just as a vessel of change, but as a keeper of memory, ‘What the Cocoon Remembers' is a study of transformation as continuity — of becoming without forgetting.

Eclosion light captures the precise moment of becoming — when containment gives way to emergence. The exact moment when something dormant breaks open into life.

In nature, eclosion is the instant a chrysalis splits and a butterfly begins to unfold: fragile, raw, and still touched by stillness.

Carved from 250 layers of sycamore and hand-shaped to echo the erosion of stone and the movement of wind across cliff faces, the piece holds tension between solidity and transformation.

“Eclosion light captures the precise moment of becoming — when containment gives way to emergence. The exact moment when something dormant breaks open into life. 

In nature, eclosion is the instant a chrysalis splits and a butterfly begins to unfold: fragile, raw, and still touched by stillness.

This is a sculpture of thresholds: between dark and light, weight and lift, stillness and movement. Eclosion is not the end of metamorphosis — it is the vulnerable, vital moment when the change reveals itself.”

@thema
@torrothschild

250 LAYERS OF SYCAMORE.
THE EROSION OF A STONE ; WIND MOVING THROUGH A CLIFFSIDE, AN IMPRESSION HAND SHAPED.

Who Has the Time?

‘Eclosion’ Light Sculpture
TOR NERIA ROTHSCHILD

OBJ: It can never work if the design is missing _____ ?
TNR: The question “Why?” at every step, there has to be a reason for a design choice. If there isn’t, it doesn’t belong.”

//
‘What the Cocoon Remembers’

A sculptural lighting series by Tor Neria Rothschild

What remains in us, even as everything else shifts? 

In honouring the cocoon not just as a vessel of change, but as a keeper of memory, ‘What the Cocoon Remembers' is a study of transformation as continuity — of becoming without forgetting.

Eclosion light captures the precise moment of becoming — when containment gives way to emergence. The exact moment when something dormant breaks open into life.

In nature, eclosion is the instant a chrysalis splits and a butterfly begins to unfold: fragile, raw, and still touched by stillness.

Carved from 250 layers of sycamore and hand-shaped to echo the erosion of stone and the movement of wind across cliff faces, the piece holds tension between solidity and transformation.

“Eclosion light captures the precise moment of becoming — when containment gives way to emergence. The exact moment when something dormant breaks open into life. 

In nature, eclosion is the instant a chrysalis splits and a butterfly begins to unfold: fragile, raw, and still touched by stillness.

This is a sculpture of thresholds: between dark and light, weight and lift, stillness and movement. Eclosion is not the end of metamorphosis — it is the vulnerable, vital moment when the change reveals itself.”

@thema
@torrothschild

250 LAYERS OF SYCAMORE.
THE EROSION OF A STONE ; WIND MOVING THROUGH A CLIFFSIDE, AN IMPRESSION HAND SHAPED.

Who Has the Time?

‘Eclosion’ Light Sculpture
TOR NERIA ROTHSCHILD

OBJ: It can never work if the design is missing _____ ?
TNR: The question “Why?” at every step, there has to be a reason for a design choice. If there isn’t, it doesn’t belong.”

//
‘What the Cocoon Remembers’

A sculptural lighting series by Tor Neria Rothschild

What remains in us, even as everything else shifts? 

In honouring the cocoon not just as a vessel of change, but as a keeper of memory, ‘What the Cocoon Remembers' is a study of transformation as continuity — of becoming without forgetting.

Eclosion light captures the precise moment of becoming — when containment gives way to emergence. The exact moment when something dormant breaks open into life.

In nature, eclosion is the instant a chrysalis splits and a butterfly begins to unfold: fragile, raw, and still touched by stillness.

Carved from 250 layers of sycamore and hand-shaped to echo the erosion of stone and the movement of wind across cliff faces, the piece holds tension between solidity and transformation.

“Eclosion light captures the precise moment of becoming — when containment gives way to emergence. The exact moment when something dormant breaks open into life. 

In nature, eclosion is the instant a chrysalis splits and a butterfly begins to unfold: fragile, raw, and still touched by stillness.

This is a sculpture of thresholds: between dark and light, weight and lift, stillness and movement. Eclosion is not the end of metamorphosis — it is the vulnerable, vital moment when the change reveals itself.”

@thema
@torrothschild

250 LAYERS OF SYCAMORE.
THE EROSION OF A STONE ; WIND MOVING THROUGH A CLIFFSIDE, AN IMPRESSION HAND SHAPED.

Who Has the Time?

‘Eclosion’ Light Sculpture
TOR NERIA ROTHSCHILD

OBJ: It can never work if the design is missing _____ ?
TNR: The question “Why?” at every step, there has to be a reason for a design choice. If there isn’t, it doesn’t belong.”

//
‘What the Cocoon Remembers’

A sculptural lighting series by Tor Neria Rothschild

What remains in us, even as everything else shifts? 

In honouring the cocoon not just as a vessel of change, but as a keeper of memory, ‘What the Cocoon Remembers' is a study of transformation as continuity — of becoming without forgetting.

Eclosion light captures the precise moment of becoming — when containment gives way to emergence. The exact moment when something dormant breaks open into life.

In nature, eclosion is the instant a chrysalis splits and a butterfly begins to unfold: fragile, raw, and still touched by stillness.

Carved from 250 layers of sycamore and hand-shaped to echo the erosion of stone and the movement of wind across cliff faces, the piece holds tension between solidity and transformation.

“Eclosion light captures the precise moment of becoming — when containment gives way to emergence. The exact moment when something dormant breaks open into life. 

In nature, eclosion is the instant a chrysalis splits and a butterfly begins to unfold: fragile, raw, and still touched by stillness.

This is a sculpture of thresholds: between dark and light, weight and lift, stillness and movement. Eclosion is not the end of metamorphosis — it is the vulnerable, vital moment when the change reveals itself.”

@thema
@torrothschild