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Untitled Floor Lamp

Untitled Floor Lamp
by aeny studio Canada

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Untitled Floor Lamp

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Untitled Floor Lamp

This is One of a kind
How is this defined? A singular and unparalleled creation, existing in only one instance with no intention of replication. It may also refer to an original prototype. Conversely, a set of pieces displaying variations in attributes, such as shape or color, within the same collection, falls under the category of an open or limited edition.

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Description

Entirely sculpted by hand, Untitled is the result of hundreds of hours of making and experimentation, intuition, and material exploration. Every element—the structure, the surface treatment, the light covers—was crafted from scratch, shaped through a process of relentless discovery. This piece is more than an object; it is a reflection of resilience, transformation, and the tension between control and surrender.

The base was built from recycled wire mesh, paper pulp, cement and gypsum extracted from drywall remnants, layered and carved in an instinctive dialogue with material and form. A coating of reclaimed bronze powder, ground and polished by hand, preserves traces of its making—its imperfections, its history, its evolution. Sealed with Brazilian carnauba wax, the surface becomes an archive of touch, capturing the persistence required to bring something into existence.

The removable light covers, developed through a custom blend of resin and fibre, shape the way illumination moves through space—revealing, obscuring, softening. In its presence, the piece invites reflection on the way we, too, navigate the world: a constant push and pull to find balance, hold onto identity, and let light emerge through the challenges we face.

This is a one-of-a-kind, signed and dated piece, never to be reproduced.

Dimensions LxWxH	64x45x185cm (25x18x73'')
Weight (kg)	33
Production Year	2024
Material	Concrete Composite
Discipline	Biomaterial
Color	Bronze
Design Class	Unique Pieces

About aeny studio Visit Showroom →

Nayara Nascimento doesn’t see furniture as an object to be placed in a room—she sees it as a presence, something alive, something that shifts the way we engage with space. Her work is not decoration, nor does it exist purely for function. It is something in between—Functional Sculpture, a dialogue between material, form, and human experience. Her path wasn’t linear. She studied neuroscience, architecture, and interior design, searching for structure, for answers. But nothing fit—until she realized she had been trying to force herself into systems that were never built for the way she thought. Discovering she was neurodivergent changed everything. Suddenly, the way she saw the world—intuitively, outside of rigid structures—wasn’t something to suppress. It was her greatest strength. Her process is not one of control, but of surrender. She doesn’t impose a shape onto the material—she allows it to emerge. Using gypsum from drywall remnants, paper pulp, recycled bronze, and whatever else finds its way into her hands, she builds through layers, through mistakes, through discovery. Each surface carries the imprint of that journey—the weight of intuition, the texture of process. Nascimento’s connection to her Indigenous Brazilian heritage runs through her work, not as nostalgia, but as an ongoing act of reclamation. She pieces together what was lost, reconfigures it, and lets it shape what she creates. Her neurodivergence, too, plays a role—not as a limitation, but as a lens through which she sees the world differently. She embraces what others might reject, and in doing so, transforms the overlooked into something undeniable. Her pieces are not meant to blend in. They are meant to be felt. To be touched, engaged with, lived with—because the most powerful objects aren’t just things, they are experiences.