Each Drip piece has a distinctive drip-shaped base that captures the transition from liquid to solid, combining fluidity with durability. Designed to elevate daily moments, these vessels bring a touch of sensory delight to dining.

The mother moulds are made from beeswax blanks that are repeatedly dipped into hot wax until droplets form naturally on the underside.These droplets, “frozen” into place, now function as stands. Each wax model holds a distinct, fingerprint-like individuality, where the technique is visibly and tangibly embedded into its form.

The mother moulds are made from beeswax blanks that are repeatedly dipped into hot wax until droplets form naturally on the underside.These droplets, “frozen” into place, now function as stands. Each wax model holds a distinct, fingerprint-like individuality, where the technique is visibly and tangibly embedded into its form.

Each Drip piece has a distinctive drip-shaped base that captures the transition from liquid to solid, combining fluidity with durability. Designed to elevate daily moments, these vessels bring a touch of sensory delight to dining.

Feld’s initial shape is based on beeswax models of grain spikes that extend in different directions to form functional objects. The Grain Cups, made from fragments of Feld, are infused with varying amounts of iron oxide, creating colour gradients reminiscent of beeswax. They are produced as limited-edition sets of thirty, each containing five cups. Every set comes with a stamped and signed certificate of authenticity indicating its edition number.

Each form begins as a small hand-drawn sketch before being modelled in beeswax, then converted into a negative plaster mould. Limoges porcelain is then poured into the mould. The result of this serial production process is a collection of slender, sharply defined vessels.

Form Alphabet creates a structured field of serialised shapes in which language unfolds through a playful, concise approach. Inspired by pictograms and the communicative power of visual symbols, the forms exist as a sculpture first and foremost and are rooted in explorations of three-dimensionality, colour and semantic play.