A jewellery collection designed for the launch of a new Birmingham based brand, POINT TWO FIVE

Crafted from Recycled 925 silver and freshwater pearls, PERLA is a contemporary take on the silhouette of a classic pearl necklace. By removing the pearls from the necklace's traditional form, Theodora's process resulted in a piece that's shaped by their absence. The PERLA series consist of a necklace and rings.

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2024

The idea behind the collaboration with Omnom began when a pattern on a tray I was working on resembled a pattern on a chocolate bar. In the initial meeting with Omnom, the idea was to create a chocolate bar with that pattern, but a bigger idea was born after the meeting.

When I got to go into Omnom’s factory I became fascinated in the cacao bean and the husk that the chocolate needs to ‘shed’ for it to become what we all love. So that became my starting point for this project.

When crafting its flavours, Omnom draws inspiration from nostalgia, Icelandic nature, and culture. That resonated with me as an Icelander living away, and I channeled my connection with Icelandic nature and yearning for home into this collaboration. These emotions take centre stage in the immersive experience where each sculpture, made from husk and chocolate, represents a memory translated into texture and flavour.

The show was a part of the Icelandic design week where guests were invited on a guided tour around the space;

1. Introduction - what is husk and why are we doing this project

2. Husk tea - this was always met with scepticism but turned out to be one of the guests favourite. Reminiscing about advent, the cozy family time before Christmas in Iceland.

3. Cake party - 3 chocolate pieces inspired but traditional Icelandic cakes and liquorish where I shared memories from baking with my mum, visiting my grandparents in the countryside and then of course eating our ‘national pride’, liquorish. Chocolate flavour; rhubarb crumble, toasted coconut & liquorish.

4. Memories linked to our magnificent nature - and how it is almost mundane to us. One sculpture focused on experiencing a volcanic eruption, and how that somehow wasn’t a big deal, and the other on a moment of waking up in the countryside after a rainy night and going for a walk. Chocolate flavour; toasted barley with volcanic ash & birch.

5. The morning cup - a memory from Covid, when I spent a couple of months in the countryside by myself. Still cherishing the memory of drinking my morning cup nestled in the roots of mountain with the view of the sea on the other side. A stark contrast to my everyday life in London, surrounded by people, which definitely added to the surreal nature of it all. Chocolate flavour; Coffee

6. Compositions, where guests got the opportunity to mix all the flavours previously tasted, in different shapes, and create their own flavour profiles

2024

A jewellery collection designed for a new Birmingham based brand, POINT TWO FIVE, for their launch during LDF 2024.

RIBBON takes its inspiration from traditional houses in Iceland that are often clad with corrugated sheet material. This act of bending and folding is something that is a recurring theme within my practice. I took a linear sheet and created volume and form through the simple act of folding - starting with 3D paper sketches, where sharp corners and pleats were easily achieved. When translated into metal sheet, the same process created soft curves reminiscent of the movement in a delicate ribbon.

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2024

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Geometric wall reliefs

3 designs in 4 colours

Jesmonite

2023

A place to drop your bag, sit on to tie your shoe laces or just take a moment for yourself before transitioning into the next chapter of your day.

The curves are a friendly greeting when entering the home and a solid grounding to take with you into the day when leaving the house.

The bench is made from tulip wood, and the makers marks are visible in the kerf bend on the legs. The soft shape is a nod to the materials former life, but the graphic line cutting through it - creating a step in the seat - reminds us of the transition it’s undergone.

Tulipwood

83x35x45cm

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Introducing Calendar 2024 – a playful addition to my collection that transforms time-tracking into a visual experience. Inspired by a conversation with my dad about our synesthesia, both of us see colours and shapes when thinking about months, and this unique calendar brings that perspective to life.

Utilising four wall based pins, 13 sheets hang in a composition from two, where each page has a month of the year on. Completed pages are flipped onto the other two pins as the months pass, creating a captivating artwork by the end of the year – a visual journey through time and memories.

At the end of the year the artwork is yours to shape; leave it in the original composition that I designed or feel free to get creative. Divide and arrange the pages to craft two distinct artworks that resonate with you.

Perfect as a Christmas present, this calendar blends functionality, sustainability, and sentiment into a unique experience. Choose between 170gsm paper or 2mm plywood, in crisp white or a vibrant multicoloured edition, and let the art of time unfold in your space.

Plywood, paper

2023

Designed for The Farm Shop

Made possible by the design platform Fels, curated by Guan Lee, Marco Campardo, and Luca Lo Pinto

Traditional farm life revolves around the nurturing, care, growth, and eventual harvest of perishable crops that serve as a vital source of sustenance in various forms. This time-honored practice embodies the essence of self-sufficiency and sustainability.

Drawing inspiration from Grymsdyke Farm, where creatives are welcomed to explore their passions and cultivate skills, we witness a modern-day connection to these age-old agricultural traditions. Here, the act of growing transcends mere sustenance; it becomes a means of nurturing one's creativity.

The creation of the fruit bowl itself is a labour of love, crafted with meticulous care using the intricate process of lost wax bronze casting. This artisanal technique leaves a mark of the maker, visible in the final piece, that acts as a testament to the dedication and craftsmanship that goes into it.

The choice of both the method and the material to create a base for fruit arrangements, carries a profound symbolism. Just as traditional farming respects the land and the fruits it yields, this fruit bowl, honours and elevates the very essence of the fruit. It offers a dignified space for the fruits to be displayed and admired, inviting us to appreciate the beauty in nature's bounty.

In this merger of tradition and creativity, the fruit bowl becomes a tangible expression of the enduring connection between human ingenuity and the natural world. It reminds us that even in our modern pursuits, we can find inspiration in the age-old rhythms of life on the farm, where nurturing, growth, and respect for the land remain at the core of our existence.

Cast bronze

2023

Designed for The Farm Shop

Made possible by the design platform Fels, curated by Guan Lee, Marco Campardo, and Luca Lo Pinto

This special edition of pendant lights replaces the ash wood with hemp panels from Margent Farm seamlessly expanding the original design with the panel's remarkable environmental benefits. Hemp fiber panels have the ability to sequester carbon, show remarkable strength and durability, and are ideal for acoustic treatments.

The size of the used panels allowed the design to grow vertically into an installation of two three-spot linear pendants and two extra wide double pendants. The natural charm of the hemp panels harmoniously contrasts with the sleek brushed aluminium tubes.

All lights are fitted with warm white 3000K fully dimmable spots.

Hemp panels, aluminium

2023

Three types of stainless steel mirrors, in three different colours; silver, black onyx and champagne.

These functional sculptures are born from simple three-dimensional sketches out of paper, that then were translated into experimentation with the properties of stainless steel sheets.

The first mirror to be developed in the series was the square, which started off as a challenge to transform a mirror-polished sheet into something with a bit more character, without adding or subtracting from its original form - therefore creating no waste. The design utilises how easily these sheets can be bent and manipulated and how different surface treatment changes their appearance and function.

Each of the mirrors is laser cut and folded twice, and then the brushed section is finished off by hand.

The project aims to increase general interest in the production of objects, make the understanding of materials and their transformation more accessible and increase knowledge of our immediate environment. This connection to the production of everyday objects aims to raise awareness and respect for resources and be reflected in increased consumer responsibility.

Dimensions-

Square

H490 x L490 x W30 mm

Semicircle

H490 x L490 x W30 mm

Long

H1450 x L350 x W30 mm

Material-

Mirror polished stainless steel

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Batch no.1

Limited edition

Intersecting candles are a family of three two wicked candles, each consisting of two intersected shapes. The shapes are informed by my previous mould studies and celebrate a merger of geometric shapes.

Batch no.1 comes in three colours; Pastel blue, Sand and White.

Each shape is available in all three colours, in an edition of 10.

Dimensions;

11 x 10 x 6 cm

Material;

Soy wax

Pestle and mortar designed for Gilda’s first product launch during Milan design week 2021

Gilda asked us to use Richard Serra’s verblist for inspiration - I picked ‘friction’

The cone sits perfectly on top of the mortar, which you can then turn over to get a bigger surface to grind your spices.

Named after one of our most iconic mountains in Iceland that very much resembles a cone

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Dimensions-

105 x 200 x 105 mm

Material-

Acacia wood

2021

Playing with the composition of simple forms and pure natural materials, the Composition light is a simple narrative of light, structures and textures. Using a standardised aluminium tube and Italian marble, the production produces little to no waste.

Designed for Fólk Reykjavík

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Dimensions-

Circle

210 x 195 mm

Triangle

210 x 210 mm

Materials-

Italian marble and aluminum, with LED lighting.

Dimmable

2021

Trays originally designed for the exhibition Hæ / Hi that was scheduled to take place at DesignMarch but due to Covid-19 has been postponed till 2021.

The two trays respond to a brief set for the group show that examines Friendship / Introduction. Over time intimacy grows within friendships, we allow people to get closer to us – dropping our guards and revealing all the complex layers and intricacies that help comprise us. The same can be said for the trays – initially, the viewer notices the overall shape, colour(s) and materials. It is only upon closer inspection that intricate shapes and forms under the tinted glass become apparent, and are brought to life through the play of light and shadow.

Dimensions-

Long

L14 x W26 x H3 cm

Short

L16 x W16 x H5 cm

Material-

Jesmonite, Glass

Images by David Wilman

I was very honoured to be commissioned along with five other international designers, (Lex Pott, Jorge Penades, The Misused, Elliot Bastianon and Andrew Carvolth), to respond to a brief for the show ‘Shifting Occupancy’ organised by One Two One Two.

My contribution is 'Shared Identity';

Food as communication acts as a nonverbal means of sharing meaning, it transcends borders and geography – allowing for shared cultural understanding, and a means to build community and identity.

Shared Identity explores the concept of shared cultural homogeneity in our global community through the act of food communication. Using London as a point of reference – a multicultural city whose identity is made up through immigration and the multitude of cultures that combine to make it – these sharing platter enact the different parts and the building blocks that make up a community. The shapes and colours are taken from the national flags that make up the city’s demography and in their abstraction create a new identity.

The exhibition was a part of Melbourne Design Week 2020, and was an initiative of the Victorian Government in collaboration with the National Gallery of Victoria.

Dimensions-

L250 x H110 x W130 mm

Material-

Glass, MDF

Coffee table (L1003 x H450 x W532 mm) upon request

Images by David Wilman

2020

In collaboration with Tino Seubert

Corrugation is a collection of lights inspired by mid-century furniture making, honouring the technique of veneer forming. It consists of a scalable hanging light and wall sconces, which can serve as building blocks to create unique combinations playfully spanning across whole rooms.

The collection takes veneer forming as a starting point - a process that requires skilled craftsmanship, which was introduced to the furniture world by design names like Alvar Aalto and the Eames couple - and pairs it with off-the-shelf aluminium tubes. A snug fit where the hard powder-coated metal meets the soft wavy wood and gives the pieces a pleasant contrast.

The aluminium tubes come in a range of colours and sit within ash veneer, which can either be lacquered in the tube’s colour or left in its natural finish. The linear light and the wall pieces can be cut to length to fit any space and work harmoniously with their surroundings.

This is the duo’s first collaboration that springs from the fact that they share a workspace and act as each other’s springboard when working on new projects. The Corrugation collection is an offspring of one of those chats.

Dimensions-

Single

255 x 202 mm

Pendant

1320 x 202 mm

Materials-

Plywood, Ash Veneer, Extruded and Powder Coated Aluminium

2019

Photos by David Wilman

A collection of ceramic side tables that explore the possibility of using a single mould to produce unique objects. With a stackable mould, the project studies if achieving uniqueness within a standardised process can add value to the outcome. A mould that consist of 3 parts in shapes based on a square, triangle and circle can be stacked differently each time a new piece is cast which results in all unique pieces. The mould can either be used to slip cast or press mould ceramics which then are fitted with a glass top to create a table.

The project is a part of an ongoing project series, Mould, where moulds and their possibilities are being pushed and explored. It's a process-led investigation that explores subtle interventions in mould making aiming to extend its active life, in this particular case by making it multifunctional to create variety in the objects it produces. The aim is to raise awareness about the material world around us, the making of objects, their origin and value. All objects act as a documentation of their manufacturing processes to some extent; a record of what went on between the machine, tools, craftsman and material. Value in objects can be highly subjective, and through different manufacturing processes, we expect different outcomes. With technological developments, urbanisation and increased consumerism, among other factors, the general public has grown disconnected from manufacturing processes. By making the process transparent and create a relationship between the ‘how’ of the making of and the final object, the audience gets a step closer to that object which might result in a connection that’s harder to break than the connection one would have with an anonymous mass-produced object.

Dimensions-

Off white

400 x 200 x 400 mm

Glass- 440 x 440 mm

Dusty pink

800 x 440 x 200 mm

Glass- 800 x 440 mm

Blue

200 x 400 x 400 mm

Glass- 250 x 440 mm

Materials-

Ceramic or Jesmonite, glass

Photos by David Wilman & Straton Heron

2019

Developed during my residency at Villa Lena, Tuscany

Batch production of unique objects made within the context of mass manufacturing, by using a single stackable mould. Cross sections of square, circle and triangle moved along an axes for each and every cast to create a new version of the piece.

2019

A lamp designed for the Icelandic company FÓLK, prototype exhibited at their showroom during DesignMarch 2019.

Materials: Upcycled textile boards from used or leftover cotton from the production of Danish textile company Kvadrat. The upcycled textile boards which are made by Really CPH is an attempt to reduce the amounts of textiles that end up in landfills each year or are burned, and increase the circularity of materials. 

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In stores autumn 2019

Photos by Baldur Kristjánsson

2019

Trophies for conneXion Munich, an annual conference hosted by LS Retail dedicated to retailers, restaurateurs and partner companies.

LS retail is a world-leading developer and provider of all-in-one business management software solutions.

2019

Playing with the composition of simple forms and pure natural materials, the Composition light is a simple narrative of light, structures and textures.

Taking inspiration from the Icelandic landscape and its harmony and contrasts with the manmade environment, the design uses a standardized aluminium tube along with off-cuts of Italian marble. The resulting product is created with little-to-no waste, and as its individual components can each be reused, the Composition Light brings to life a circular ethos in a simple, yet unique, fashion.

Initial prototypes were made by local craftsmen in Iceland using Icelandic rhyolite and gabbro stone

Designed for Fólk Reykjavík

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Demension-

210 x 195 mm

Material-

Italian marble, aluminium and LED

Touch function dimmer: 10% - 50% - 100% light

Photos by Baldur Kristjánsson

The project is an investigation into the subtle techniques used in mould making, aiming to extend its active life. Mould making is fundamental to many manufacturing processes, both in small batch productions and mass manufacture. In those processes the mould is indispensable for bringing the desired object into existence. The making of the actual mould is a painstaking task. The better the mould is the better the final result will be. When the mould has been used to cast however many objects it is put to one side and the focus shifts onto the object it has created. Is it possible to extend a moulds lifetimes subtle redesigns and by doing so, maintaining its value long after the casting process, by making it equally desirable as the realised object?

The third stage of this investigation transforms the study made in the second stage, where the relationship between the mould and the cast object was explored further and the way to use a single mould to produce unique objects was developed, into functional objects. By using three shapes, square, triangle and circle that had all been cut in half, and layering them in a new way every time a new piece was cast resulted in all unique objects. In this case, the moulds are then painted and gain a new purpose, as frames for mirrors but the cast objects become tabletops.

2019

Photos by Gulli Már

The project is an investigation into the subtle techniques used in mould making, aiming to extend its active life. Mould making is fundamental to many manufacturing processes, both in small batch productions and mass manufacture. In those processes, the mould is indispensable for bringing the desired object into existence. The making of the actual mould is a painstaking task. The better the mould is the better the final result will be. When the mould has been used to cast however many objects it is put to one side and the focus shifts onto the object it has created. Is it possible to extend a moulds lifetimes subtle redesigns and by doing so, maintaining its value long after the casting process, by making it equally desirable as the realised object?

This second stage of this investigation centres upon the relationship between the mould and the cast object. The experiment aimed to find a way to explore the possibility of using a single mould to produce unique objects. By using three shapes, square, triangle and circle that had all been cut in half, and layering them in a new way every time a new piece was cast resulted in all unique objects. The moulds are then painted and gain a new purpose as sculptures.

2018

Photos by Gulli Már

Granite bookends for the launch of ‘Why Materials Matter’ by Seetal Solanki of Ma-tt-er

To celebrate she commissioned a few artist / designers to create bookends to support the book from one of their material driven projects. These relate to the project From The Ground Up and use the base of that project as their material.

Material- Granite

Photos- Dilesh Solanki

London Design Festival 2018

In collaboration with Daniel Durnin

The project is a research led investigation, using the tools, process, and soil / clay to inform the realised object.

Historically ceramics have been decorated and manipulated according to factors such as where it is from, its use or value and importance. By allowing the material itself to be extracted and manipulated on site using set tools and processes, the clay informs its own aesthetic, creating a dialogue between the finished aesthetic, history of the location, and the process that was used. The process informs the clay and the clay informs the process. The ‘decoration’ becomes the marker of how and where it was created. This dialogue created between the tensions of the object and its creation allow us to explore the intricacies of the relationship between ourselves and the clay in which the object has been born, to pare back and strip the decoration to its most natural form, our processes will facilitate the clay to express its own identity.

This project explores those relationships between the material and the process used to create it. By formulating a process which can be repeated in various locations the raw material informs the final aesthetic, thus opening a dialogue between the object and the viewer.

Traditionally clay is dug out of the ground, refined and then shaped one way or another by a craftsman. In the finalised object you can therefore often see much of the craftsman and his energy.
We wanted to turn this process upside down and remove the individual from the material, where the finalised object is a result of a controlled uncertainty.

By digging down to a clay vein and creating a cylindrical hole in it that we then fire into with a gas burner we have defined the inner part of the vessel. The outside of it however is completely controlled be the surrounding soil. After a certain amount of time of firing the vessel is then gently pulled out of the ground, as if it were a artefact in an archaeology excavation and only then its appearance is discovered. 

2016

The project is a process lead investigation that explores subtle interventions in mould making aiming to extend its active life. Its aim is to raise awareness about the material world around us, the making of objects, their origin and value. 

All objects act as a documentation of their manufacturing processes to some extent; a record of what went on between the machine, tools, craftsman and material. Value in objects can be highly subjective, and through different manufacturing processes we expect different outcomes. 

Mould making is fundamental to many manufacturing processes, both in small batch productions as in mass manufacturing. In those processes the mould is indispensable for bringing the desired object into existence. The making of the actual mould is a painstaking project, the better the mould is the better the final result will be. When the mould has been used to cast however many objects it is put to one side and the focus shifts onto the object it has created. The project explores ways to answer the question; Is it possible to extend the moulds active life with subtle interventions and by doing so, maintaining its value after the casting process by making it as desirable as the realised object?

With technological developments, urbanisation and increased consumerism, among other factors, the general public has grown disconnected from manufacturing processes. By making the process transparent and literally create a relationship between the ‘how’ of the making of and the final object, the audience gets a step closer to that object as well as other similar objects in nearest environment. 

The first stage of this investigation, is a study of this concept, a physical illustration of how the relationship between the mould and the object can be manifested where the mould carries on with its life as an ambiguous piece once it has fulfilled its role as a mould. The next stages in the investigation will involve more industrial processes, such as slip cast ceramics and glass blowing. 

2018

To varying degrees all objects act as a document of their manufacturing processes; a record of what went on between a material and the tools that formed it, be they hand or machine. This project is a study that engages with clay via two rudimentary processes to explore how value can be found in the traces left by the making process.

First act - An illustration of time in objects: The goal was to make a vessel by hand in a limited but increasing amount of time from a lump of clay to ask the question what happens to the shape of the output object when the time which the craftsman is allowed to make it becomes sufficient for the maker to explore other values and qualities. The resulting product is a series of vessels, each made with different time constraint, that together make a set spanning the most basic shape to the more elaborate, reflecting the time allowed to make them.
 

'Workmanship of risk - workmanship using any kind of technique or apparatus, in which the quality of the result is not predetermined, but depends on the judgment, dexterity and care which the maker exercises as he works – transmission of the self within the object.' David Pye



Second act – An illustration of forces used to shape objects: The goal was to explore whether uniqueness can be achieved in individual items produced through a standardized process; by making a salt bowl by pressing a cube of clay and using the materials’ nature to give the object its character. The result are salt bowls, each identical in shape, but differing slightly in that cracks form during the manufacturing process.

´Making is based on a sequence of repetitious acts, incrementally forming objects with meaning´ Martina Margetts

2015

The project is founded on the obscure significance of the mineral feldspar. Making up 60% of the earth’s crust, feldspar is a key ingredient in many of our most familiar objects within the domestic environment. From The Ground Up is a simple dining set for two that stacks together to form a totem, each item an example of an everyday material made from feldspar. As a symbol of unity, the totem creates interrelations through the set which, when constructed, stands upon its common origin the stone itself. 

With technological developments, urbanization and increased
consumerism, among other factors, people have grown disconnected from where and how their material resources are originated. Rocks and their minerals provide an example: Once used in the most literal sense, providing housing and tools such as weapons and wheels as well as canvas for art they fulfilled many of our needs. Advances were gradually made by blending, grinding or treating the raw materials in multiple ways to maximize their qualities, resulting in an ever increasing removal from the base material/source of the components, and most recently a removal of the general public from the manufacturing processes.

Rocks hold a compelling power. Coming from Iceland, a country with little vegetation and the natural environment mainly consisting of rocks which we have a strong spiritual relationship with, a curiosity arouse to find this power within our our domestic environment. 

The notion that within the consumer landscape, we are becoming more aware of the origin of our food and what it has taken for it to get to our local supermarket, as well as the fact that feldspar is very appropriate for tableware, formed the decision behind making a dining set. To be aware of what you are eating your food on is an equally fascinating story, to understand the transformation of the material from its natural state until it sits at your table. 

Materials;

granite, porcelain clay, earthenware, silicone, glass

Photos by Fernando Laposse

2016

The project is founded on the obscure significance of the mineral feldspar. Making up 60% of the earth’s crust, feldspar is a key ingredient in many of our most familiar objects within the domestic environment. From The Ground Up is a simple dining set for two that stacks together to form a totem, each item an example of an everyday material made from feldspar. As a symbol of unity, the totem creates interrelations through the set which, when constructed, stands upon its common origin the stone itself. With technological developments, urbanization and increased
consumerism, among other factors, people have grown disconnected from where and how their material resources are originated. Rocks and their minerals provide an example: Once used in the most literal sense, providing housing and tools such as weapons and wheels as well as canvas for art they fulfilled many of our needs. Advances were gradually made by blending, grinding or treating the raw materials in multiple ways to maximize their qualities, resulting in an ever increasing removal from the base material/source of the components, and most recently a removal of the general public from the manufacturing processes.

Rocks hold a compelling power. Coming from Iceland, a country with little vegetation and the natural environment mainly consisting of rocks which we have a strong spiritual relationship with, a curiosity arouse to find this power within our our domestic environment. 

The notion that within the consumer landscape, we are becoming more aware of the origin of our food and what it has taken for it to get to our local supermarket, as well as the fact that feldspar is very appropriate for tableware, formed the decision behind making a dining set. To be aware of what you are eating your food on is an equally fascinating story, to understand the transformation of the material from its natural state until it sits at your table. 

Materials;

Glasses and jug;
Glass
Feldspar is used as a flux agent in the glass industry, where it lowers the melting temperature of the silica sand and also provides added sodium and/or lime to the batch. This reduces the melting cost and facilitates the whole process.


Gravy bowl;
Silicone
In silicone and rubber, feldspar can be used as a filler which gives strength and reinforces the material. By sitting in between the chains of polymers that the material is made of, feldspar takes on the strain which is put on the material when stretched and used.

Ceramics
Feldspar is essential to ceramic industry in two ways. Through chemical weathering feldspar breaks down into Kaolin which is what we know to be clay. In addition to that, feldspar is added to clay mixtures which when heated, melts down into silica rich liquid that works as a glue between the kaolin and the silica, giving strength to the piece.

Big serving bowl;
Parian body
Porcelain
Made with 65% Cornwall feldspar and 35% china clay. The parian body contains very white feldspar which helps to give it’s white translucent appearance, and makes it a self glazing body


Dining plates;
Ballclay mixture
Stoneware
Ballclay is a rare type of clay and the world’s most important deposits are found in Devon and Dorset. Ball clay contains very fine particles which make it very plastic and gives the yet to be fired clay body added strength.


Small bowls;
Clay from the river Thames
Earthenware
Weathering of feldspar in soil has been used to predict how the river waterway has moved, especially in south east England.


Granite
A coarse grained rock composed mainly of orthoclase/albite feldspars (up to 70%) and of quartz, usually with small amount of other minerals. Granite forms the largest part of the earths continental crust.

2015