Where did Ondina begin? What was the initial idea or image behind these two light sculptures?

Ondina began with the image of a wave, movement captured in stone. We wanted to take a raw, powerful material, something we associate with a masculine energy, and transform it into a soft, fluid and feminine form.

What role did you want the material to play in the identity of the pieces?

The material is the soul of Ondina. Natural stone carries millions of years of history within it. Its veins, colours and imperfections are created by nature, not designed by us. We wanted to respect that and allow the stone itself to become part of the expression.

At what point did natural stone emerge as the right answer for the project?

Stone was there from the beginning. There is something deeply emotional about living with a material that connects us to nature, history and architectural heritage, from ancient Rome to the present day. Marble carries a sense of permanence and nobility that very few materials possess.

What did you find in Picasso that made this stone particularly suited to Ondina?

Picasso feels almost like a work of art created by nature. Its pink tones and expressive dark veins resemble spontaneous brushstrokes across a canvas. The name Picasso feels completely natural when you look at it — every slab is already a unique composition.

In these light sculptures, the stone interacts directly with light. How did that relationship influence the design?

Light is not simply a function in Ondina, it is a way of revealing the stone. The idea came from the experience of seeing marble in a quarry at sunrise, when natural light suddenly exposes colours, depth and veins that were almost invisible before. We wanted to recreate that moment within the object.
By carving Picasso exceptionally thin and illuminating it from within, the stone seems to come alive. Its veins become more expressive, its colours deepen, and the material almost begins to speak.
Ondina is not simply an object in a space. Through light, the stone becomes a presence, a statement of its own.

In what way do you believe natural stone adds value beyond its visual presence?

Natural materials affect us emotionally. Stone comes directly from the earth and carries its own history and energy into a space. We believe this creates a connection that cannot be reproduced by an artificial material.

What was it like developing the pieces with Galrão?

Ondina is built around the dialogue between human craftsmanship and technology. Galrão’s technology allowed us to push Picasso marble to an exceptional level of precision and thinness, while the craftsmen’s hands gave the piece its final sensitivity and character. Neither could exist without the other.

Did the stone lead you to adjust the original design?

Yes. With natural stone, you cannot simply impose a design on the material, you have to listen to it. Its veins, structure and resistance became part of the development process and helped us refine the final piece.

What was it like seeing Ondina at Marmomac?

It was emotional because Marmomac celebrates stone in all its strength and monumentality. Ondina presented another possibility: the same powerful material becoming thin, illuminated, fluid and feminine.

How do you see the potential of natural stone in contemporary design?

We see stone not simply as a surface or finish, but as a medium for collectible design. It carries nature, history and cultural memory, while contemporary technology allows us to express it in completely new ways.

What would you like to explore next?

Ondina is the beginning of this exploration. We want to continue working with the tension between ancient material and contemporary technology, rawness and refinement, strength and softness, stone and light.