Black

Pigmented veining flows along the sides of the impasto, oriented by the action of gradual manual pressure, thus imbuing the charm of a minimal, frozen movement against vast neutral backgrounds. Easily adapted to the greatest gamut of design solutions, Veins generates a spatiality that is unencumbered by colors and oriented toward the play of light. Reminiscent of marble, of stone, of wood, of the mosses and lichens of Salento, of time that marks and makes its own the calcareous stone. The lines confound and cross casually, and after the various phases of processing, they declare themselves in their continuous beauty.

Moss Black

Pigmented veining flows along the sides of the impasto, oriented by the action of gradual manual pressure, thus imbuing the charm of a minimal, frozen movement against vast neutral backgrounds. Easily adapted to the greatest gamut of design solutions, Veins generates a spatiality that is unencumbered by colors and oriented toward the play of light. Reminiscent of marble, of stone, of wood, of the mosses and lichens of Salento, of time that marks and makes its own the calcareous stone. The lines confound and cross casually, and after the various phases of processing, they declare themselves in their continuous beauty.

Black Veins

Obtained by stretching the impasto first by hand and then with CNC machining, Ruts alternates between flat portions, reminiscent of stone, to rectangular sections to create a succession with a solid and fortunate rhythm. The “cadence” of its grooves can be more or less dense, continuous or interrupted, but in each of its versions and in all the different colors, Ruts reveals, thanks to the intervention of the machine, the material uniqueness of paper pulp. They are indeed hard, mechanized cuts that speak of the very fiber of the paper as it pushes toward new dynamic and formal borders.