Ritualia – Arabescato Bowl
by CARRARA LV

16 in stock

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  • This is an Open Edition
    Each edition may differ
    How is this defined? A series of pieces that are not restricted by any predetermined volume limit. Each item is meticulously produced by the designer or in collaboration with skilled local artisans, resulting in a limited quantity of unique pieces. If stated, each item may exhibit slight variations due to its handcrafted origin.
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Description

With its wide, shallow silhouette and quiet elegance, the Ritualia bowl becomes an altar for everyday moments. Cut from Arabescato marble, known for its soft grey veining, this piece is crafted entirely by hand to preserve the stone’s natural beauty. It works beautifully as a centerpiece, incense holder, jewelry tray, or as a decorative accent on its own.

MATERIAL
Arabescato white marble, matt finish

DIMENSIONS
⌀20 x 1.5 h cm / 1,5 kg

CARE
Wipe with a damp cloth, avoid harsh chemicals

Each bowl is unique, shaped by the inherent variations in natural marble. No two pieces will ever be exactly alike.

Dimensions LxWxH
Piece Weight (kg)

2

Production Year

Material

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Design Class

About CARRARA Visit Showroom →

CARRARA is a sculptural art and object studio founded by artist and creative director Lera. Her work begins with a simple observation: people form quiet, often unconscious relationships with the objects and surfaces that surround them. A wall can calm or disturb. A texture can invite touch or create distance. These interactions are subtle, almost irrational, yet they shape how we feel inside a space. Her practice exists to make these invisible relationships tangible.Lera studied interior design at the University of Latvia, where she developed an understanding of space as something emotional rather than purely functional. Over time, her focus shifted from designing interiors to creating objects that influence space on a deeper, more intimate level. She works primarily with mineral-based materials, shaping each surface by hand. The process is slow and repetitive, allowing rhythm, tension, and imperfection to emerge naturally. Repetition becomes a way of thinking. Texture becomes a way of holding time.Her work is rooted in cycles — both physical and internal. Compression and release. Stillness and movement. Each piece reflects the fragile balance between control and surrender, strength and vulnerability. The forms are minimal, but never neutral. They carry a quiet presence that can anchor a space without dominating it.For Lera, objects are not symbols or statements. They are companions to human experience. They do not demand attention, but they remain present — offering a point of contact between the external world and internal life. Her work invites a slower kind of perception, where meaning is not explained, but felt.
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