Pendant lamps, table lamps and wall lights, each one hand-shaped in papier-mâché or cast cement in our Yerevan studio. The forms are soft and imperfect on purpose — wabi-sabi lighting in warm ivory, terracotta and stone tones that glows rather than glares. Every lamp is made to order, and most can be made in a custom size or colour.
A wide white dome with a soft yellow interior and an open port at the crown, so light escapes upward as well as down.
A papier-mâché dome finished in soft ivory and edged with a hand-knotted cotton fringe.
A wide, shallow dome in warm terracotta, built up by hand in papier-mâché and sealed to a soft matte finish.
A rounded cap on a soft column, shaped entirely by hand in papier-mâché with a raw, sandy surface.
A cast cement cylinder with a brushed brass band at the base and an exposed Edison bulb.
A tapered concrete lamp and a matching diffuser bottle, cast from the same mottled grey mix so the two read as a pair.
A cast cylinder in a pale speckled mix that reads like travertine, topped with a bare Edison bulb on a fabric cord.
The same wide dome silhouette as our terracotta pendant, built in papier-mâché but finished in a coarse, stony taupe.
A compact cement cylinder poured in two layers, dusty rose over natural grey, so the seam between them falls differently on every piece.
A gently tapered shade in soft ochre papier-mâché, hung from a twisted natural cord.
A flat, wide disc in rust red, hung so the bulb sits fully exposed beneath it.
A broad dome in umber papier-mâché with the lower rim left torn and irregular.
A wide dome wrapped in natural raffia over a hand-formed frame, so light escapes through the weave as well as the opening.
A straight-sided drum shade covered in a patterned textile of rust, green and cream.
A clean drum shade in undyed linen over a hand-built frame, open at both top and bottom.
A tapered form wound entirely by hand in rust-coloured thread, hundreds of passes deep.
A tall cylinder braided in natural jute, open enough that the bulb stays visible through the weave.
A hand-formed sphere with an open cut, mounted on a curved metal arm and a solid wood base.
A heavily textured sphere that glows through its own surface, pitted and cratered like the thing it is named for, resting on a rough-cast base.
A squared shade in umber papier-mâché on a slim white stand — the most conventional shape in the range, in a distinctly unconventional material.
A cast cement block anchoring a woven wire mesh cylinder around an exposed Edison bulb.
A wide domed cap on a tapered column, finished in warm terracotta with a lightly pitted surface.
A shallow shade whose rim ripples like fabric caught mid-movement, terracotta outside and gold-toned within.
A compact half-sphere in dusty rose with the lower rim left raw, showing the pale body beneath the colour.
The same compact dome in a muted sage green, with the torn rim left unpainted so a pale line runs around the opening.
A textured white cap on a smooth cylindrical base, the two surfaces deliberately different to the touch.
A deep dome in strong ochre with a heavily grained surface and a torn pale rim.
A dark green dome lined in warm ochre, so the outside reads almost black while the underside glows amber.