The Natural Room

  • THE NATURAL ROOM design collection, conceived by Sarah Myerscough, embraces our innate human connection to the natural world. It encourages us to look more closely at the objects that surround us and to ask ourselves why we’ve chosen them. The collection is composed of hand crafted contemporary design and art pieces that have been created by individuals, often working with local communities. It involves ethical and emotional decisions to use slow grown, organic materials and skill-based craft. The international artist-designer-makers included in the collection embrace these ideologies of sustainability and conscious sourcing to create beautifully crafted furniture pieces and sculptural objects in materials such as wood, jute, sisal, willow, stoneware and salt. 

     

    Jute and sisal feel like grass between our fingertips, sanded oak like silk, and woven willow crackles under pressure; to stimulate the viewer in ways beyond a purely visual engagement, appealing to an inner need for sensorial invigoration - one that recalls the many pleasures of the natural world. At this moment in time, it feels more pertinent than ever to arrive back at a home which invigorates our senses, calms our minds and connects us to different localities, their makers and communities. Each piece in the collection is imbued with a personality that brings character into our interior spaces. These objects and furniture pieces ask to be treasured as heirlooms in our families over time, instead of falling into the pitfalls and landfills of fast consumerism. 

     

     

     

  • Laura Ellen Bacon

  • ‘I use natural materials, en masse. I hope my language of form may feel strangely familiar to the natural world. It is my goal that my work might bring some intrigue into both natural and built environments, creating work that might serve to remind us that nature can still surprise us.’

     

    Laura Ellen Bacon works with sustainably grown Somerset willow and has developed her own language of tying and interlacing soaked strands of the material to construct biomorphic forms that feel strangely familiar. Laura’s immersive and physically demanding process of making is normally performance and installation based, meaning that her organic bench form represents the beginnings of an entirely new direction in her practice.

     

    Laura’s large-scale works have been included in exhibitions at the Ruthin Arts Centre, Wales; Holburne Museum, Bath; New Art Centre, Wiltshire; Sudeley Castle (Sotheby’s installation); Derby Museum and Art Gallery; and Blackwell – The Arts and Crafts House in Cumbria. In 2017 she was a finalist within the Woman’s Hour Craft Prize at the Victoria & Albert Museum, London and in 2010 she was selected as a Jerwood Contemporary Maker. In 2018 her work inspired the composer Helen Grime, whose resulting three-part movement, ‘Woven Space’ was performed at the Barbican by the London Symphony Orchestra, conducted by Sir Simon Rattle. 

  • Fernando Laposse

  • Fernando Laposse considers important environmental concerns through extensive research into the location of materials and their historical and cultural connotations. This has fuelled his passionate interest in sustainability, reversing the loss of biodiversity and community disenfranchisement. His sisal bench presents the material in its raw state to demonstrate the simplicity of process from plant to final product. Fernando harvests and crushes the fibres, combs and knots it by hand to make his hairy furniture pieces. 

     

    Fernando has exhibited in international group shows such as Future Heritage, London (2019); Broken Nature at the Triennale di Milano (2019); Nature at Cooper Hewitt Smithsonian, New York (2019); Food, Bigger than the plate, Victoria & Albert Museum, London (2019); Victor Papenek, The Politics of Design, Vitra Design Museum (2018); and Design after Darwin, Venice Design Biennale (2017). In 2018, he was a Hublot Design Prize finalist and was part of the Beazley Designs of the Year at the Design Museum, London.

    • Fernando Laposse Sisal Bench, 2019 Agave sisal 43 H x 50 W x 150 L cm
      Fernando Laposse
      Sisal Bench, 2019
      Agave sisal
      43 H x 50 W x 150 L cm
    • Fernando Laposse Sisal table, 2019 Sisal and glass 39 H x 130 ø cm
      Fernando Laposse
      Sisal table, 2019
      Sisal and glass
      39 H x 130 ø cm
  • Cristian Mohaded

  • Cristian Mohaded hybrid design practice incorporates crafts, industry, tradition, and innovation. The gallery is launching his elliptical ‘Floating Towers’ as part of The Natural Room collection. These are made using hand woven simbol, a plant fibre native to Catamarca, his home province in Argentina. The project began when he met Lorenzo Reyes, a local simbol weed knitter and teacher. Simbol knitting and basket techniques are preserved by local craftsmen who pass their knowledge and skills down through the generations. Mohaded works directly with the local simbol knitters to develop the use of the material into ambitious sculptural forms – while also supporting and preserving the historic knitting skills from his hometown.

     

    Cristian graduated from the National University of Córdoba, Argentina. In 2008, he founded his studio in Milan and now splits his time between Italy and Argentina. He has works in the permanent collections of the Philadelphia Museum of Art, USA; the Musée Les Arts Décoratifs, France; and the Argentine design heritage of Fundación –I–D–A (Research in Argentine Design).  

  • Arko

  • ARKO’s sculptures use rice straw, a by-product of the rice plant. It previously played a significant role in everyday Japanese life and was used to make items such as shoes, coats, blankets and food wrappers. Now its main use is for the production of traditional straw festoons, which are holy ornaments for Shinto New Year ceremonies. It has almost faded out from modern life, despite large volumes of rice crop still being produced for food consumption. ARKO’s practice aims to reinvigorate the material by creating something new with it, to inspire feelings of natural providence, which is often overlooked in today’s digital and commercially-oriented society. 

     

    ARKO has exhibited extensively in Japan and in international group shows such as Changing Attitude, Tokyo (2019); Loewe Baskets, Milan (2019); Object come from the earth, Tokyo (2018); Say No To Limits, Beijing (2007). In 2018, she was shortlisted for the Loewe Craft Prize, exhibited at the Design Museum, London.

    • Arko Untitled, 2020 Rice Straw 43 H x 53 W x 8 D cm
      Arko
      Untitled, 2020
      Rice Straw
      43 H x 53 W x 8 D cm
  • Wycliffe Stutchbury

  • Wycliffe Stutchbury respects his material as an elemental record of the British Isles’ natural history. His ambitious wall panels and standing screens are inspired by the countryside he has experienced and lived in over his lifetime; from the Fenlands of East Anglia to the South Downs, where the artist spent his earliest days. This childhood relationship to woodland means he has an intrinsically close bond to his material: holly bush, oak and bogwood express his emotional connection to his subject while acting as an index of place itself. For Wycliffe, the finished piece is always an exploration of landscape: field, furrow and fall line are all embedded in the undulating scenery his work recalls. 

     

    His making process is slow and meditative; delicately hewn tiles of wood are placed by hand to create abstract compositions that are at once emotive, intuitive and conceptual. Patterns emerge in linear forms and subtle tonal changes susurrate across the picture's surface - reminding us of the wood’s creation and guiding us back to place. 

     

    The artist has exhibited extensively in the UK and the US and has significant works in international private collections. He has received several notable awards, including from the Crafts Council UK and the Worshipful Company of Furniture Makers UK. In 2018, Wycliffe was shortlisted for the Loewe Craft Prize.

     

    • Wycliffe Stutchbury Gayles Farm 5, 2020 Discarded oak fencing on cotton hung on 3 section hinged European oak frame 210 H x 210 W cm
      Wycliffe Stutchbury
      Gayles Farm 5, 2020
      Discarded oak fencing on cotton hung on 3 section hinged European oak frame
      210 H x 210 W cm
    • Wycliffe Stutchbury Hundred Foot Drain 10, 2020 Excavated Bog Oak 150 H x 150 W cm
      Wycliffe Stutchbury
      Hundred Foot Drain 10, 2020
      Excavated Bog Oak
      150 H x 150 W cm
  • Tim Johnson

  • Tim Johnson’s Keeping Time baskets, which present natural materials in a direct and honest way, are at their very heart about time. The twining and folding that holds them together conceptually marks increments of being and are therefore a declaration of human presence; ultimately, the maker’s time is kept in the work as a trace of activity. 

     

    The uncommon structures of the baskets recall the historical nature of his process; thatched and piled textiles like this date back to Neolithic times, when they were used in garments and shelters to provide our ancestors with insulation and weather protection. Tim re-presents this traditional way of making and embellishes it with his own innovations and techniques to further explore concepts of containment and protection, material, place and culture.  

     

    Tim Johnson ’s work has been exhibited internationally, including his solo show Lines and Fragments at the Crafts Study Centre, Farnham UK and the  Korbmacher - Museum Dalhausen, Germany (both 2019); Basketry, Ruthin Crafts Centre, Wales (2019) Deeper Voice of Textiles, Newcastle, NSW, Australia (2017); Ports I Man, Museu de la Pauma, Spain (2013/14); Linking, Nationaal Vlechtmuseum, Netherlands (2012); and Cherry Basket, Johannes Larsen Museum, Keretminde, Denmark (2009). 

    • Tim Johnson Keeping Time, 2019 Esparto 25 H x 50 ø cm
      Tim Johnson
      Keeping Time, 2019
      Esparto
      25 H x 50 ø cm
    • Tim Johnson Keeping Time, 2019 Jacinthe 22 H x 32 W x 25 D cm
      Tim Johnson
      Keeping Time, 2019
      Jacinthe
      22 H x 32 W x 25 D cm
    • Tim Johnson Keeping Time, 2019 Reedmance 40 H x 30 ø cm
      Tim Johnson
      Keeping Time, 2019
      Reedmance
      40 H x 30 ø cm
  • Mami Kato

  • Mami Kato is best known for her sculptural works in rice straw. She uses the material to not only reference her Japanese heritage, but also to highlight the ability of raw materials to provide energy and sustain life on earth. Her work sculpturally captures this natural vitality as it powerfully surges in curves, twists and bulges, with installation pieces appearing to literally pour out from the walls. Through her work, she encourages us to carefully consider the gift of natural sustenance, which will only continue if we respect and nurture a symbiotic and balanced relationship with the earth.

     

    Mami is a Japanese born-artist who now lives and works in Philadelphia in the US. She graduated from Musashino Art University and Tokyo School of Art in Japan and University of the Arts in the US and has since exhibited extensively across the USA and Japan. Mami’s work is part of international private and pubic collections, including the Wu Tung Art Museum, China.  

    • Mami Kato Uro, 2020 Rice stalk, cashew resin, cotton cloth, epoxy resin 34.5 H x 56 W x 54.5 D cm
      Mami Kato
      Uro, 2020
      Rice stalk, cashew resin, cotton cloth, epoxy resin
      34.5 H x 56 W x 54.5 D cm
  • Alida Kuzemczak-Sayer

  • Alida’s material lexicon is highly tactile, including natural papers, graphite, pigment, salt, thread, ink, wax and raw casts in metal and plaster. Her sculptures often incorporate forms that recall pages, folds, bindings or scrolls. This work addresses the contemporary relationship between heritage and cultural codes, the linguistic qualities of rhythmically recurring forms and the transformative, yet indexical, nature of the cast or the scan. 

     

    Alida holds an MA in Sculpture from the Royal College of Art, London. Her work is included in The Anthony Shaw Collection at York Art Gallery, UK and The Letterform Archive, San Francisco, USA. She has exhibited extensively across the UK and has received public art commissions from the HERILIGION Project at University of East Anglia (2019) and The National Trust and Norwich Contemporary Art Society (2017). Her work was included in the touring exhibition Stereo Type, which showed at the Boston Association of Architects, BSA Space; Ringling College of Art and Design, Sarasota, Florida; Parsons The New School, New York; and De Pauw University, Greencastle, Indiana (2014-16). 

    • Alida Kuzemczak-Sayer Signature, Lineation, 2020 Himalayan Mulberry Paper and Graphite 59 H x 36 W x 2.5 W cm
      Alida Kuzemczak-Sayer
      Signature, Lineation, 2020
      Himalayan Mulberry Paper and Graphite
      59 H x 36 W x 2.5 W cm
  • Gareth Neal

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    Gareth Neal’s Block III consoles are concerned with the dialogue between historical and contemporary design. They are CNC cut and then hand finished with traditional tools. Block III celebrates the knotted, gnarled crown of an ancient oak tree. Through his progressive digital crafting techniques and intricate hand carving, this usually disregarded section of the tree (unsuitable for cutting standardised planks from) has been given a second life. 

     

    Gareth comments that his studio’s ‘design process is led by an appreciation and respect for the natural environment, and the traditional processes, materials and skills intrinsically linked within it. Everything we design embodies sustainability, through carefully considered material choices to designs that combine historical and contemporary aesthetics to ensure they’ll last a lifetime.’

     

    Gareth graduated from Buckinghamshire University in 1996 with a BA Honours in Furniture Design and Craftsmanship. He has pieces in the public collections of the Victoria & Albert Museum, UK; Crafts Council, UK; and Manchester Metropolitan, UK. His work was exhibited in Against the Grain: Wood in Contemporary Art, Craft and Design at the Museum of Arts and Design, USA; Telling Tales and Power of Making at Victoria & Albert Museum, UK; and The State of Things at The Design Museum Holon, Israel. 

    • Gareth Neal Block III (convex), 2019 Oak 80 H x 79 W x 43 D cm
      Gareth Neal
      Block III (convex), 2019
      Oak
      80 H x 79 W x 43 D cm
    • Gareth Neal Block III (concave), 2019 Oak 80 H x 79 W x 36 D cm
      Gareth Neal
      Block III (concave), 2019
      Oak
      80 H x 79 W x 36 D cm
  • Marcin Rusak

  • Marcin Rusak’s perishable vases are organic composites made from waste flowers collected from florists, shellac, beeswax and resin. Marcin comments that: “Decaying and ageing materials have an important place in my practice. I develop them from organic ingredients in order to create objects that have an element of life on their own. Perishable Vases are created as a paradox to examine the way in which we value things around us. We surround ourselves with objects of use, which become irrelevant to us at certain point, but we are stuck with their materiality. Creating something with an aesthetic and emotional value with the constant reality that it might not last forever creates an uncomfortable notion of wanting to preserve it however we can. It creates a nonphysical relationship which lasts while we consciously maintain it. I believe it is the objects we value that will outgrow the everyday and become representatives of our times.”

     

    After studying at the Eindhoven Design Academy in the Netherlands, the designer received his MA in Product Design from London’s Royal College of Art. Since then, he has set up his studio in Swindo Palace, just outside his hometown of Warsaw, Poland. Marcin’s solo exhibition Unnatural Practice will take place in Ordet during Milan Design Week 2021. In 2019, he had a solo exhibition with Sarah Myerscough Gallery at Design Miami and in 2018, his solo exhibition took place at the Horta Museum in Belgium. His work has also been exhibited at the Verbeke Foundation, Belgium; the Toyama Museum of Art and Design, Japan; and the Victoria & Albert Museum, London (2015). 

    • Marcin Rusak Perishable Vase X 002, 2020 Flowers and natural shellac 40 H x 50 W x 40 D cm
      Marcin Rusak
      Perishable Vase X 002, 2020
      Flowers and natural shellac
      40 H x 50 W x 40 D cm
    • Marcin Rusak Perishable Vase VII 001, 2020 Flowers, clay and natural shellac 40 H x 40 D x 40 H cm
      Marcin Rusak
      Perishable Vase VII 001, 2020
      Flowers, clay and natural shellac
      40 H x 40 D x 40 H cm
  • Domingos Totora

  • We believe that sustainability happens through actions and not words’ - Domingos Totora

     

    Recycled cardboard serves as the base for Domingos Todos’ work. In a certified sustainable process, the cardboard is cut and treated with glue and agglutination derivatives and transformed into a mouldable cellulose mass. This material serves as a basis for furniture, objects and sculptural pieces. All the works are moulded by hand and then naturally dried in the sun. The beauty of Domingos’ work is not only manifested in the final product but also in his process; from the designer’s philosophy and respect for the environment embedded in his production techniques to the location of his studio in Maria da Fé in the mountainous region of Minas Gerais.

     

    Domingos has exhibited internationally, including in Brazil, the USA, and across Europe. His work was presented at London’s Design Museum as part of the Furniture Designers of the Year exhibition (2012).

     

    • Domingos Tótora Terrao Bench, 2020 Recycled cardboard and natural earth pigment 42 H x 250 L x 44 D cm
      Domingos Tótora
      Terrao Bench, 2020
      Recycled cardboard and natural earth pigment
      42 H x 250 L x 44 D cm
    • Domingos Tótora Âtalho Lounge Chair, 2020 Recycled cardboard 94 H x 99 W x 99 D cm
      Domingos Tótora
      Âtalho Lounge Chair, 2020
      Recycled cardboard
      94 H x 99 W x 99 D cm
    • Domingos Tótora Âmago Sculpture 12, 2020 Recycled cardboard with natural earth pigment 56 H x 32 W x 19 D cm
      Domingos Tótora
      Âmago Sculpture 12, 2020
      Recycled cardboard with natural earth pigment
      56 H x 32 W x 19 D cm
  • Egeværk

  • The concept for Egeværk’s ICE series originated from their deep-rooted connection to the landscape in their native homeland and neighbouring countries, specifically the harsh winter icescapes of Denmark, Sweden and Norway. The designers sought to capture the fluid aesthetics of ice in their opposingly solid medium of Danish Ash wood.  

     

    For months the artists transported huge blocks of ice to their studio to study the melting process under both natural and controlled conditions. Blocks were placed shoulder to shoulder in the workshop or on the harbour front to compare the different melting rates; these were carefully catalogued in photographs, which were then used as inspiration in a series of carved maquettes. The final large-scale furniture pieces are the result of a slow and thoughtful process of making; they embody the language of ice in form and texture, achieved through Egeværk’s gentle and refined carving techniques. 

     

    Kristensen (1985) and Bentzen (1978) were both trained at the esteemed PP Furniture, a Danish joinery established in 1953 and famous for its large portfolio of modern Danish furniture. They are the recipients of many prestigious awards and accolades, including the 2019 Snedkerprisen (the Danish Carpentry Award). Most recently, their work has been selected for the Danish Pavilion in Tokyo during the Olympic Games 2020.

     

    • Egeværk Ice Stool Twist IV, 2020 Danish Ash 42 H x 42 W x 25 cm
      Egeværk
      Ice Stool Twist IV, 2020
      Danish Ash
      42 H x 42 W x 25 cm
    • Egeværk Ice Stool III, 2020 Danish Ash 42 H x 42 W x 25 D cm
      Egeværk
      Ice Stool III, 2020
      Danish Ash
      42 H x 42 W x 25 D cm
  • Kate MccGwire

  • Kate MccGwire works in the specialist natural medium of feathers. The artist grew up in the Norfolk Broads, the daughter of a boat builder, and established her connection to birds and nature early on. When she purchased a barge as a studio on the River Thames, she discovered a colony of pigeons living in a neighbouring warehouse and was inspired to collect and experiment with their feathers in her work. Kate now partners with a small network of British farmers, gamekeepers and pigeon racers to sustainably source her collection of discarded moults; she meticulously catalogues and archives hundreds of feathers by size, colour and pattern in her studio every year. 

     

    When making her wall pieces, Kate rhythmically arranges the feathers by hand in concentric and linear patterns, inspired by the movement of water surrounding her studio barge. She highlights their intricately nuanced and magnetic colours, alongside the aesthetic and sculptural possibilities inherent in the material. 

     

    Since graduating from the Royal College of Art in 2004, Kate’s work has been exhibited in international exhibitions and museums, including at the Saatchi Gallery, UK; the Museum of Arts and Design, USA; the Musée de la Chasse et de la Nature, France; Muséum National d’Histoire Naturelle, France; and the Gewerbemuseum Winterthur, Switzerland. Harewood House (UK) are holding a major solo show of her work in 2020 and in 2018, she had a significant retrospective exhibition at The Harley Gallery, UK.

    • Kate MccGwire SWELL VI, 2016 Mallard speculum feathers on archival board, sprayed white frame and museum glass 68 H x 68 W x 7 D cm
      Kate MccGwire
      SWELL VI, 2016
      Mallard speculum feathers on archival board, sprayed white frame and museum glass
      68 H x 68 W x 7 D cm
  • Alison Dickens

  • Alison Dickens makes organic, sculptural forms in willow from sustainable sources in Somerset. She also produces delicate plaited vessels in bark and other plant materials harvested from hedgerows, gardens and roundabouts.

     

    Alison’s baskets are contemporary in form, yet they call on a rich and varied craft tradition. Her pieces visually echo the high and low curves of spare open landscapes: the Yorkshire Dales and Wolds, Norfolk and Suffolk coasts, estuaries and tidal mudflats; and the forms and patterns made by water, wind and wave. Her willow vessels are made using the rope-wale weave, which involves adding a new rod at every stroke and weaving with a bundle of willow. The technique is slow and time-consuming, however the artist comments that, ‘I love the sense of movement it creates and feel it best evokes the landscape forms and forces that guide me.’

     

    Alison was selected for the London Creative Network programme in 2018 and won the Cockpit Arts/ The Worshipful Company of Basketmakers’ Award in 2019. In the same year, her work was included in the major exhibition Basketry - Function and Ornament at Ruthin Craft Centre, Wales.  

    • Alison Dickens Buckled Basket, 2020 Black Maul and Flanders Red willow 35 H x 45 W x 19 D cm
      Alison Dickens
      Buckled Basket, 2020
      Black Maul and Flanders Red willow
      35 H x 45 W x 19 D cm
    • Alison Dickens Buckled Basket, 2020 Black Maul and Steamed Willow. 34 H x 45 W x 20 D cm
      Alison Dickens
      Buckled Basket, 2020
      Black Maul and Steamed Willow.
      34 H x 45 W x 20 D cm
    • Alison Dickens Windblown Basket , 2020 Black Maul and Steamed Willow 45 H x 55 ⌀ cm
      Alison Dickens
      Windblown Basket , 2020
      Black Maul and Steamed Willow
      45 H x 55 ⌀ cm
  • Joe Hogan

  • I was drawn to basketmaking because willow growing provided an opportunity to live rurally and develop a real understanding for a particular place... I take some time each year to try new ideas and to make new designs but I also value repetition and the fluency it develops. You learn to be patient, to work in the present moment and to not prejudge the outcome. For the past ten years or so I have become increasingly interested in making non-functional baskets, some of which involve the use of found pieces of wood. This work is prompted by a desire to develop a deeper connection to the natural world.’ - Joe Hogan

     

     

    Joe Hogan’s studio is based at Loch na Fooey in the West of Ireland. He discovered the area during a cycling trip in the 1970's and was immediately drawn to its natural beauty and the local way of life. He and his wife moved there in 1978 and planted willow in their very first spring, which they have harvested, cut and dried themselves ever since. Joe incorporates locally found materials such as bark, logs, lichen and catkins to make his uniquely sculptural handwoven baskets, for which he has gained international recognition. In 2018, he was shortlisted for the Loewe Craft prize.

    • Joe Hogan A Pod On Old Willow Wood, 2020 Driftwood and Willow 43 H x 65 L x 46 D cm
      Joe Hogan
      A Pod On Old Willow Wood, 2020
      Driftwood and Willow
      43 H x 65 L x 46 D cm
  • Felicity Irons / Rush Matters

  • Rush Matters is making new matts and baskets for The Natural Room. Please use the enquiry button below if you would like to receive details once these are available. 

     

    When the last member of Britain's remaining family of rushcutters died in 1994, Felicity Irons stepped in to save the harvesting tradition of the rush weaver. Historically, rush was used as floor covering and was an essential part of the British home. However, as mass produced materials emerged from the Industrial revolution, the demand fell into steep decline. Felicity is now training others in rush harvesting and weaving techniques and revitalising traditional methods with contemporary innovation.

     

    At harvest time, Felicity navigates the Great Ouse and Nene Rivers in an aluminium punt; in a physically demanding process, she plunges a scythe five feet underwater from a standing position to sever the stalks cleanly. The rush, which are dried against hawthorn hedges and in stubble fields, are woven from meat hooks in nine-strand plaits: ‘As the rush is consumed in the plait, new strands are invisibly interwoven, yielding a continuous strip. The width is formed by sewing the strips with jute twine using a sailmaker’s palm’.

     

    Felicity has received a number of significant public commissions from the UK’s National Trust, including an immense 171-foot-by-22-foot mat at Hardwick Hall, Derbyshire’s Tudor masterpiece. Museum commissions include the Frick Museum and the Metropolitan Museum of Art, both New York.

  • Roxane Lahiji

  • Roxane Lahidji has developed a technique to mimic the sculptural qualities of marble using salt. She uses the salt’s physical properties as a self-binding composite mixed with tree-resin to create strength and solidity, adding coal powder to the substance to produce layered strata of subtle colour. Roxane’s invention is a sustainable design material which also draws our attention to the socially constructed concepts of value; salt, historically costly and now cheap, parodies the aesthetics of a sought-after luxury rock. 

     

    Roxane was born in France in 1992 and grew up in Paris before studying Illustration and Product Design in Strasbourg. After graduating from the Social Design Department of the Design Academy Eindhoven in 2017, Roxane developed her Marbled Salts project and was included on VIA's FD100 list of top French designers working internationally. In 2019, she won the Bolia Design Award.

    • Roxane Lahidji Marbled Salts White Jem Stool, 2020 Sea Salt, natural pigments, natural binders, eco-resin 40 H x 35 ø cm
      Roxane Lahidji
      Marbled Salts White Jem Stool, 2020
      Sea Salt, natural pigments, natural binders, eco-resin
      40 H x 35 ø cm
    • Roxane Lahidji Marbled Salts Side Table, 2020 Sea Salt, natural pigments, natural binders, eco-resin 40 H x 40 ø cm
      Roxane Lahidji
      Marbled Salts Side Table, 2020
      Sea Salt, natural pigments, natural binders, eco-resin
      40 H x 40 ø cm
    • Roxane Lahidji Marbled Salts Wave Table, 2020 Sea Salt, natural pigments, natural binders, eco-resin 50 H x 40 ø cm
      Roxane Lahidji
      Marbled Salts Wave Table, 2020
      Sea Salt, natural pigments, natural binders, eco-resin
      50 H x 40 ø cm