Weave

Weave comes from the simple pleasure of a pattern that refuses to sit neatly in one category. There is something floral about it, but equally something graphic.

The influence of Kilim weaving is there, although loosely. Those woven patterns often turn geometry into something surprisingly organic. A few stepped lines can suggest a leaf, a flower or an abstract symbol. Then, almost immediately, they become geometry again.

Weave enjoys that uncertainty. Its forms feel familiar without resolving into anything specific. There are traces of flowers and fragments of textile ornament. Yet the harder geometry keeps pulling everything back towards abstraction.

That ambiguity gives the pattern its energy. Nothing needs to become entirely floral or entirely geometric. Instead, both readings coexist, shifting almost without notice.

Marble makes an interesting partner for an idea borrowed from weaving. The pattern retains the exuberance of cloth, but gains the permanence of stone. Weave holds onto both worlds without feeling obliged to choose between them.

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