“‘I met Kullaro through our participation in Den Nya Kartan where designers were paired up with craftspeople to create a 50/50 relationship where they co produce work and take it to the market together. I have adopted this model of working and have collaborations with M&E Ohlssons Klockgjuteri and Master Piano Maker, Felix Lenz. We have produced a few pieces and have been selling them in Europe, Japan, Australia and Hong Kong. I was later approached by Kullaro to create a piece of work that would effectively fit into this way of working.

As a result of cultural exchange the Japanese have had a presence in north-eastern Skåne where the stone is quarried. I found this very interesting and started looking into Japanese sculpture. I explored the work of Isamu Noguchi whose cocktail table is a design classic. I admired the way he treated the material in his sculptural work and was surprised to find out he studied under the sculptor Brancusi whose work I also appreciate. I like the repetitive form in Brancusi’s work. I started this object by mirroring the bottom piece and then stretched the top piece creating direction to the object and more surface.

I have previously used stone as a weight to cantilever an object. It had a very functional and clear role in ‘The Champagne Table’. I started to work around this idea but I felt my challenge was to show off the stone’s natural qualities as well as the skill of the craftspeople. I needed a way to elevate the stone’s quality and allow it to retain its massive weight which I find so appealing about this material

I made the decision to make the carvings in the table small and abstract as a representation of the vessels that are found on the surface of ancient offering tables. I did not want to dictate the type of things served on this table like I did with ‘The Champagne Table’ because I like the idea that there are certain rituals involving specific vessels and tools that one might use. For example a Japanese tea set or a Russian crystal caviar set.”