Reverse Collection

A push in unusual directions, which accentuates and enhances even what is secondary through a “REVERSE” perspective.

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A PUSH IN UNUSUAL DIRECTIONS, WHICH ACCENTUATES AND ENHANCES EVEN WHAT IS SECONDARY THROUGH A “REVERSE” PERSPECTIVE.

AN INTERPLAY OF LIGHT AND SHADE, WHERE BY CONTRAST THE FILLER COMPLEMENTS THE TILE, BECOMING A DECORATION.

A handful of coins thrown by travellers into a fountain for good luck: this is the image that inspired the HOP pattern.

Reverse - Trim
Colour: Dark Grey - Grout: 117 Sage

LIKE A PATCHWORK OF STAMPS. THE SIMPLICITY OF THE SHAPES ENHANCED BY A ZIG ZAG SCISSOR CUT.

Trim has irregular edges that fill with colour, give life to an unusual, simple but present decorative motif.

Reverse - Tiki
Colour: Blue - Grout: 177 Sage

IT IS REMINISCENT OF THE FRINGES OF EXOTIC ROOFS AND THE SKIRTS OF POLYNESIAN DANCERS.

A modular tile of irregular shape, with a dynamic and intriguing motif.

Definitely out of the ordinary, the false and real grouting help create the unexpected.

The staggered effect is guaranteed that seems to be apparently random despite the regularity of the installation.

THIS IS A MOSAIC OF IRREGULAR TILES, ALMOST A COLLECTION OF CONTEMPORARY FOSSILS.

The tessera tiles seem to be abstract geometric figures that close up reveal a fantastic zoo. The grouting traces its tribal forms, where stylized men, women and animals live together, forming a mosaic that seems to have become worn over time.

Reverse - Zoo
Colour: White - Grout: 119 London Grey

Project: Cristina Pettenuzzo OTTO studio
Material: NeoClay™
Features: Handmade
Production: Artisanal extruded
Thickness: 8 mm

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DESIGNER

CRISTINA
PETTENUZZO
OTTO STUDIO

Designer, develops creative direction, she devises sets for interiors and temporary installations, and designs objects, home accessories, surfaces, fabrics, and patterns.

“I started from the material, NeoClay™, a blend of fine clays, born from research by Opificio Ceramico, a material that has interesting technical properties but also a pleasant surface to the touch. I didn’t want to ‘pollute’ the product with prints, patterns, or glazes, so I decided to start working on its contour, leaving the material intact.”