{"root":{"props":{}},"content":[{"type":"PageTitle","props":{"title":"Stories","byline":"","size":"lg","imagePlacement":"wide","ctas":[],"sectionBottomMargin":"standard","id":"PageTitle-706c3efc-2e55-4a89-8027-2e18c2874794"}},{"type":"StorySwimlane","props":{"title":"Sabine Marcelis on selected works","storyIds":[{"storyId":{"type":"node--reel","id":"f8437efe-71d6-4ff8-aa0e-52f7824caba3","links":{"self":{"href":"https://mfg.nodehive.app/en/jsonapi/node/reel/f8437efe-71d6-4ff8-aa0e-52f7824caba3?resourceVersion=id%3A3629"},"working-copy":{"href":"https://mfg.nodehive.app/en/jsonapi/node/reel/f8437efe-71d6-4ff8-aa0e-52f7824caba3?resourceVersion=rel%3Aworking-copy"}},"drupal_internal__nid":256,"drupal_internal__vid":3629,"langcode":"en","revision_timestamp":"2026-09-16T08:53:56+00:00","revision_log":null,"status":true,"title":"Tall Stripe, 2013","created":"2026-09-16T08:46:59+00:00","changed":"2026-09-16T08:47:09+00:00","promote":false,"sticky":false,"default_langcode":false,"revision_translation_affected":null,"moderation_state":"published","path":{"alias":"/sabine-marcelis-light-and-color/stories/tall-stripe-2013","pid":526,"langcode":"en"},"publish_on":null,"unpublish_on":null,"content_translation_source":"de","content_translation_outdated":false,"field_reel_byline":"Sabine Marcelis, Designer","field_reel_description":null,"field_reel_transcript":{"value":"

After graduating [from] design academy Eindhoven, I moved to Rotterdam and not much later Brit [van Nerven] moved in with me. She had also studied at Design Academy, but in a different department. While we were living together, we decided to work on a project together and managed to convince a glass factory to let us play around with their materials and machines. Those experiments resulted in the Seeing Glass collection. It consisted of different objects that each somehow involved reflection and influenced the viewer’s perception of themselves and the surrounding space. We had so much fun and really just tried many different combinations and treatments of glass. We carved into it, we layered colors and altered opacities and the Tall Stripe mirror is one of my favorite works from that collection. It showcases how in a single object you can create both reflection and shadow. Something quite unique about it is that the mirrored treatment of the glass also goes around the corner onto its thickness, which creates an interesting point of view when looking into that depth of the glass. Although this work has really stayed only as its original version, the Off Round mirror, which you will see later in this show also originated from these experiments and has continued to evolve over the years into many different iterations.

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I’ve been working together with stone supplier SolidNature for many years, and I’ve always been fascinated by their catalogue of natural stones. This precious material that has taken millions of years to form can have the most insane colors and veining. I find that it works so well to juxtapose them against manmade materials like resin and glass, whose very controlled transparency and color can interact in an interesting way with the very uncontrollable nature of natural stone.

For this table I wanted to showcase all the different colors travertine can naturally have. The range of light beige through yellows, oranges and into deep reds. And link those colors with the table’s surface. The exercise was also about rethinking the function of a table’s different elements. The legs are not simply there to carry the surface, but instead extend beyond to become display elements and the tabletop becomes simply a connecting plane between them.

When this table was first presented during Salone del Mobile [Milano] in 2023, I invited food artist Laila Gohar to activate the table with a buffet that reinforced the same idea of color matching. The food presented followed the exact same color palette as the table itself even referencing the textures of the stone. At times it was quite hard to distinguish whether the food was not also stone. With sausages and cheeses matching perfectly with the travertine in both color and texture.

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I love to collaborate with other creatives and to bring our specific expertise together. Boris Acket makes incredible spatial experiences choreographed with sound and light and centered around movement, and in a way, we have a similar way of working. We both look to nature and its ephemeral moments as inspiration, trying to capture them more permanently.

Sunbeam Captured came about very naturally, where we wanted to capture that fleeting moment of a ray of sunshine bouncing off a puddle of water. A very subtle movement is needed to create this dynamic flow of water within the artwork, and the white ray of light reflects off the colored mirror to project this ever-changing colored reflection.

We did endless testing in his studio to choreograph that effect, and we have even evolved the work into a second iteration where it is a free-hanging pane of transparent colored glass that creates a double effect of both a colored shadow and a reflection off the moving water. There is nothing more rewarding than finding another artist who is equally enthusiastic about the process, and watching two worlds merge into something neither of us could have made alone.

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The Candy Cube is really where everything started for me. It was originally created for the retail stores of a fashion brand. I wanted to create something super straightforward in form language yet irresistible to touch through its materiality. Like, making something so simple super special using light and color as tools. Because more light is able to travel through the corner of the cube, the edges seem to glow. The high-polished surface also really adds to the reading of the object, and its bubblegum color was quite unexpected at the time.

This design also very much taught me how to scale my studio. I was doing everything by myself during this time, and I had to quickly learn to work with others and to professionalize in order to produce and distribute all these cubes to the many different stores worldwide. It really took on a life of its own beyond the fashion stores. My galleries started selling them as coffee tables, and many museums have collected them. Vitra has included one on their iconic chair poster, and music artist Lorde even took one on tour with her as a stage prop.

I don’t generally like to predetermine too much how people read my work. I think there is beauty in letting others give their own meaning to it. Of course, there is a clear concept and intention, but I love to see it interpreted in other ways too. And I think this really is what happened with the Candy Cube and why it still resonates so much after all these years.

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I’m quite selective with which projects I do for commercial brands. And when IKEA approached me to work on a collection, I saw it as a perfect challenge to myself to see whether I could still do good design without having the luxury of expensive materials and processes like I’m used to in my collectible design practice. When all that is taken away and it has to be at a low price point, how can I still make something as attractive?

The Varmblixt collection consisted mainly of lighting, and my aim was to create timeless items that still had a lot of identity. In monomaterials as much as possible, and with a reduced amount of material but a maximum amount of lighting effect. In the context of these being mass-produced, I also really wanted to be careful not to create anything too linked to the year it came out in. Because that would then mean it may fall out of fashion again in the years to come. I’ve always owned the IKEA Fado lamp, which is the white spherical glass table lamp. From being a teenager to being a student, and even now, I still have one in my home. And that’s exactly the type of lamp I wanted to create. But actually even more flexible by having it function as both a wall-mounted lamp and a table lamp. And I guess it worked, because since its debut three years ago, it has actually become the company’s best-selling lamp.

During the original launch in Paris, I presented this lamp in a grid behind the DJ booth, and it took on a whole different mood than when it’s presented as just a single object. So, in this exhibition, I wanted to push that even further by creating an entire wall of them, with a mirror opposite, so you really are completely enveloped in the light and color of this design.

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This was a very special project for me, as I am in awe of the Barcelona Pavilion. It’s an architectural icon and absolutely perfect. My gallerist Luis Sendino from Side Gallery once asked me what my dream project would be, to which I answered: “A solo show inside the Barcelona Pavilion.” He then somehow made that happen. And I was actually the first designer to have been allowed to create a show inside the pavilion, while strictly artists have had the privilege before me.

When the original pavilion was commissioned, the request was to not use too much glass. This is why, in response, I wanted to use mainly glass. The show consisted of two chaises longues, a light, and a fountain. The premise of each was to extrude the materials of the pavilion into functional objects. The travertine floor was pulled up to become the foot and neck rests of the chaises, and the color of the glass, which is the surface of the chaises, came directly from the onyx and marble walls they were positioned in front of. Water, I felt, was equally a material of the pavilion. So, I pulled the water up from the pond through two large sandwiched curved glass panels, and it overflowed downwards again where those ended.

With this project, we really, really pushed the limits of what is possible within curved glass. With the fountain especially being the largest those panels could possibly have been, and we traveled all over Europe to make it happen with various manufacturers involved. I don't think any project has daunted me more than this one. I felt such a huge responsibility to do justice to this building and was cautious not to fill it with too much work. It had to be just enough to convey the concept, and nothing more. That fountain also kept us up many, many nights to make it finally work, but when it finally did—it was also the most rewarding feeling. And contrary to what you might be thinking, the chaise longues are very comfortable to lie on!

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For me, lava lamps have always been so fascinating. I remember as a kid, one of my friends had one, and I was just like: “These people must be so rich to be able to afford something like this!” It was literally just pure magic to me.

Then, fast forward some decades, Mathmos, the inventors of the lava lamp, approached me to create a limited edition of their Astro lava lamp for its 60th anniversary. Even then, I floated them the idea of creating a room full of floor-to-ceiling lava lamps. But it’s not so easy to change the shape of the vessel, however, as it’s a very precise balance of the lava heating up and rising in the liquid and then cooling down again as it reaches the top and keeping that flow of rising and dropping consistent.

We have since done a number of different special-edition Astros, and also now we are launching one to coincide with this show. But when we started working on this show, I just really wanted to make that early dream come true, to create a fully immersive giant lava lamp room, and I’m so, so happy that we managed.

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I basically always try to turn every project into a fountain. From the first moment I managed to convince a luxury brand to let me create ten fountains for them in 2018 to just a few months ago, when Plume was created. It’s just the most fun challenge to shape liquids.

I call Plume a fountain, but I guess it’s more a liquid sculpture. The idea was really to shape a bubble and have that bubble dance through an enormous volume in a way that is very dynamic yet calming. Like watching fire. The real designing within this project was the control of that bubble. Water is way too thin and has a very low viscosity. The air would move through it way too fast and too hectic. So, we had to slow that down by creating a custom mixture of silicone oils that had just the right viscosity for the movement I was after.

Then we had to program the release of the air into the oil, which defines the size of each bubble. The frequency at which the bubbles are released also determines how those bubbles would interact, sometimes breaking each other up, only to reconnect again later. Everything is really taken into account: the shape of the void where the oil sits and how thick that is. We can get really nerdy in my studio about projects like this and we set up a complete lab to experiment and get to the exact result we want.

To complement the idea of experiencing bubbles forever in motion, I also created some wall works that capture a bubble in motion forever.

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To complement the idea of experiencing bubbles forever in motion, I also created some wall works that capture a bubble in motion forever.

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