Martha Freud and Repossi unite for sculptural, raw and organic artworks
Martha Freud is inspired by Repossi’s Antifer collection for a new selection of works

Sculptural silhouettes and organic forms collide in a new collaboration between Parisian jewellery house Repossi and artist Martha Freud. Freud looks to the distinctive peaked outline of Repossi’s Antifer collection for works in a rich selection of textures, in a rethinking of its angular lines.
Study in Stone, Stacks and Sand
‘I think Repossi and I have a similar approach to the way we design and create - stripping back our ideas to celebrate their elemental core, leaving room for those who experience them to interpret as they will,’ says Freud on the organic nature of the partnership. Her pieces celebrate a certain wildness: ‘My ceramic practice is organic and raw - my handmade pieces celebrate the irregular. Whilst also being handmade, the Antifer collection is precision jewellery making in its finest, so passing their elegant motifs through my more earthy processes has created a whole new body of work. I have also employed light a lot in the pieces. When light passes through the porcelain, it creates a warm glow so similar to gold. Through these artworks I’ve been exploring the myriad ways the Antifer motif can catch the light, when crafted from a different material.’
Without Darkness There Can Be No Light - Photo credit David Owens
The artworks encompass candle holders in clean white porcelain or dark earthy tones, filled with wax scented with plum and patchouli. Other pieces in porcelain, volcanic sand and black grout present play on fiery juxtapositions of form, while black stoneware is a striking contrast to porcelain glimpsed underneath it.
‘For many of these pieces I’m working with porcelain only a couple of millimetres thick - once it has been through the firing process it has strength, but while making it is incredibly delicate and prone to cracking (in which case I need to start from the beginning). Some of the pieces have been re-made multiple times to achieve the results I was after. Another thing to factor in is the shrinkage rate, the pieces I have made have shrunk between 13 and 17 percent from their original wet clay form depending on the clay body and thickness. Working with ceramics reminds me that I don’t always have control over the outcome of my pieces, but often the results are even better than I could have imagined.’
Pressure Cuts Diamonds
Wallpaper* Newsletter
Receive our daily digest of inspiration, escapism and design stories from around the world direct to your inbox.
Hannah Silver is the Art, Culture, Watches & Jewellery Editor of Wallpaper*. Since joining in 2019, she has overseen offbeat design trends and in-depth profiles, and written extensively across the worlds of culture and luxury. She enjoys meeting artists and designers, viewing exhibitions and conducting interviews on her frequent travels.
-
For a taste of Greece, head to this playful new restaurant in London’s Chelsea
Pachamama Group’s latest venture, Bottarga, dishes up taverna flavours in an edgy bistro-style setting
By Sofia de la Cruz Published
-
Lucy Dacus on her Renaissance-inspired new album cover and intimate museum tour
Lucy Dacus' fourth album, 'Forever Is A Feeling', is an intimate exploration of love with visuals inspired by the romanticism of classical art
By Charlotte Gunn Published
-
At Milan Design Week, 'Material Alchemists' marks the Wallpaper* Class of '25
Our own exhibition brings together 20 emerging designers from around the world giving matter form with magic
By Hugo Macdonald Published