Forty-three handmade pieces in papier-mâché, cement and natural fibre. Every one is made to order in our Yerevan studio and shipped worldwide.
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.
Small, shallow bowls pressed by hand from papier-mâché and tinted in soft clay pinks, reds and greys.
A deep bowl in dark cocoa papier-mâché, raised on three short feet, with the rim left torn and unsmoothed.
A low, wide bowl in warm oat papier-mâché, its outer wall left ridged from the shaping process.
A flared bowl finished in a white crackle surface that splits open to reveal the terracotta body underneath.
Small bowls wrapped in cord and trimmed with beadwork in deep green, rust and cream.
A fluted vase and a shallow companion bowl, both cast in cement and tinted a dusty blush.
Cast concrete coasters in a warm terracotta mix flecked with pale aggregate, each poured separately so the speckling never repeats.
A larger and a smaller bowl in dark cocoa papier-mâché, both with softly scalloped rims that echo one another.
A wide ribbed bowl and a small lidded pot, both cast in pale chalk-toned cement.
A cast cylinder in a pale speckled mix that reads like travertine, topped with a bare Edison bulb on a fabric cord.
A shallow, wide dish in sand-toned papier-mâché with a gently scalloped edge and a coarse, oatmeal-like surface.
Low, straight-sided bowls cast in three tones — chalk white, natural grey and dusty rose.
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 footed bowl in chalk-white papier-mâché with a deeply scalloped rim, raised on a solid pedestal base.
Small footed bowls in saturated teal and ochre, with scalloped rims and stubby tripod feet.
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 footed bowl, a shallow dish and a tall cylinder vase, all finished in a rough charcoal surface with visible grit.
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.
An assorted group of shallow bowls and dishes in slate, cream, rust and brown, each shaped separately with no attempt at matching.
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.
A wide white dome with a soft yellow interior and an open port at the crown, so light escapes upward as well as down.