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Open a larger version of the following image in a popup: Marc Fish, Mokume-Gane Leaf Pendant XL I, 2026
Open a larger version of the following image in a popup: Marc Fish, Mokume-Gane Leaf Pendant XL I, 2026
Open a larger version of the following image in a popup: Marc Fish, Mokume-Gane Leaf Pendant XL I, 2026
Open a larger version of the following image in a popup: Marc Fish, Mokume-Gane Leaf Pendant XL I, 2026
Open a larger version of the following image in a popup: Marc Fish, Mokume-Gane Leaf Pendant XL I, 2026
Open a larger version of the following image in a popup: Marc Fish, Mokume-Gane Leaf Pendant XL I, 2026
Open a larger version of the following image in a popup: Marc Fish, Mokume-Gane Leaf Pendant XL I, 2026

Marc Fish

Mokume-Gane Leaf Pendant XL I, 2026
Mokume-Gane, 3500 year old bog oak, bronze and black lacquer
52.5 H x 150 W x 150 D cm
20.6 H x 59 W x 59 D in
Approx. 30kg
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Description This 1500 mm wide pendant is conceived as a suspended landscape — a study in scale, weight, and elemental balance, held just above the viewer. The expansive form is finished in Mokume Gane, its surface animated by dense, flowing strata created through repeated cycles of heat, compression, and bonding. Across this broad span, the patterning reads less as decoration and more as topography: layered, irregular, and quietly dynamic. Light grazes the surface rather than reflecting sharply, revealing depth and variation that shifts as the viewer moves beneath it. Running through the piece are softly articulated seams that introduce rhythm and direction. These lines suggest natural forces at work — tectonic movement, erosion, or the slow drift of molten material — giving the pendant an internal logic that feels grown rather than drawn. Despite its size, the form retains a sense of restraint, with no single gesture dominating the whole. Structural elements in bog oak provide a grounding counterpoint to the metal. Dark, matte, and visually dense, the oak introduces a material shaped by centuries rather than hours. Its presence anchors the pendant conceptually, reinforcing a dialogue between immediacy and deep time, between the intensity of fire and the patience of natural transformation. As a lighting piece, the pendant does not aim to disappear into architecture. Instead, it asserts itself as a sculptural presence — one that alters the atmosphere of a space rather than merely illuminating it. Suspended at scale, it invites the viewer to move beneath and around it, encouraging slow looking and an awareness of material, process, and gravity.
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