Marc Fish, Mokume-Gane Low Table, 2026

Innovative material science is at the core of Marc's practice. After mastering the skills used for centuries by craftsmen, Marc explored new materials and ways to produce fluid, sculptural pieces inspired by the curvilinear forms of Art Nouveau. Specialising in the use of laminate veneers, his process pushes the limits of contemporary collectible design and transcends the barriers of art, design, sculpture and furniture.

He comments ‘We’ve been concentrating on laminated veneers for ten years; we don’t do anything else. There’s no solid woodwork at the studio. We’re using .6mm veneers; the logs are put in boiling water, steamed and sliced with a knife, so there’s no wastage. When we get them, they’re already precut: they come sequentially, every veneer in order, exactly as they would be in the tree. When you put them back together again, it looks like the wood has grown into a shape, rather than us manipulating it. But, though we probably know as much as anyone in the world about laminating veneers, that’s actually not all that much. There’s so much more to know. There isn’t anyone out there to teach us, but I want to always be learning.’

Mokume-Gane, bog oak, bronze and black lacquer and composite substrate

30 H x 140 W x 140 D cm
11.8 H x 55.1 W x 55.1 D in
Approx. 60kg

Description

The Mokume-Gane low table is conceived as a quiet study in material transformation and deep time, where process and surface carry as much meaning as form. The tabletop unfolds like a miniature landscape. Finished in Mokume-Gane, its surface is densely patterned with flowing, organic strata as if formed through repeated cycles of heat, pressure, and bonding. The resulting texture feels geological rather than decorative suggestive of sedimentary rock, cooled lava, or eroded terrain. Light moves slowly across the surface, revealing depth and variation rather than a single reflective plane. Subtle raised seams traverse the tabletop, introducing gentle movement and rhythm. These lines recall natural fault lines or the paths of water across land, hinting at forces acting beneath the surface. They create a sense of contained energy, as though the table has been shaped by natural processes rather than imposed design. The base is formed from bog oak, a material transformed over centuries through submersion and mineralisation. Its near-black tone and matte presence provide a powerful counterweight to the complexity of the metal above. The oak grounds the piece both physically and conceptually, reinforcing the narrative of time, pressure, and elemental change. Together, these materials establish a dialogue between fire and earth, immediacy and endurance. The table occupies a space between functional object and sculptural form, inviting close viewing and slow engagement. It reveals itself gradually, rewarding attention to surface, edge, and junction, and stands as a meditation on craft, transformation, and the quiet drama of natural forces.