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Connection Cairo Coral

Connection
Porcelain Tiles

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The Material

Connection looks to the rich geometric language of twentieth-century modernism, a period when pattern moved remarkably freely between disciplines. A shape might appear in a textile, re-emerge in a piece of graphic design or find its way into an architectural surface. The context changed, but the attraction to clear, repeatable geometry remained.

The patterns in Connection come from this broad territory. Some have the familiarity of traditional tile motifs, while others lean towards the abstraction of modernist textiles and graphics. Rather than belonging to a single moment or influence, they share an attitude to pattern that runs throughout the century.

Connection Anvil Porcelain Tile

The Patterns

Connection Altangle Lagoon

Altangle

Connection Anvil Anthracite

Anvil

Connection Axe Lagoon

Axe

Connection Cairo Coral

Cairo

Connection Chandalier Palm Porcelain Tile

Chandalier

Connection Chevron Oliva Porcelain Tile

Chevron

Connection Dama Porcelain Tile

Dama

Connection Diamond Porcelain Tile

Diamond

Connection Hextended Porcelain Tile

Hextended

Connection Kite Beige

Kite

Connection Picket Opala

Picket

Connection Provencale Porcelain Tile

Provencale

Connection Scallop Jade

Scallop

Connection Tablet Porcelain Tile

Tablet

Connection Triangle Porcelain Tile

Triangle

Connection Tricorn Porcelain Tile

Tricorn

Connection Wedge Anthracite

Wedge

What interests me about these shapes is how easily they survive a change of context. Reduced to their geometry, many remain remarkably current. They don’t need embellishment or reinterpretation to justify themselves. Their strength lies in proportion, repetition and the way one piece relates to the next.

Porcelain gives this language a particularly direct expression. Its smooth, matt surface allows the outline of each shape to remain clear, leaving the pattern to emerge through the joints between pieces. Grout can make that geometry explicit or allow it to sit much more quietly within the surface, but the underlying drawing remains the same.

There is also a pleasing familiarity to many of the resulting patterns. We may recognise something of parquet, a woven textile, an old geometric floor or a piece of mid-century print without necessarily being able to place the reference. These visual ideas have circulated for so long that they have become part of a shared decorative vocabulary.

Connection brings a selection of that vocabulary together. It is less interested in recreating a particular period than in exploring why its geometry continues to work. The materials and interiors around it may have changed, but a well-proportioned shape and a good repeat have lost very little of their appeal.