In the shadows of great metropolises, where art meets infinity, lives Matthew Morpheus - a master of abstraction, whose real name, Serhii Matveichenko, echoes his Ukrainian heritage.

The Cadence Collection by Projects LL

Beyond Braille : Touch, Tangaliya and Talking Textiles

Architecture does not simply host behaviour. It shapes it.

Contemporary Society Survival Kit 

"JET Mirror" reimagines the mirror as a space of cultural memory and collective identity.

The most common definition of a weed is a plant in the wrong place.

Loopy Lamp is a collaborative work by Eden Frymel and Hold Art Collective (Stephanie Jefferies and Sarah Marsh).

Intertwine explores the intertwining of cultural practices through the lens of contemporary jewellery design.

Dust 2 Dust explores how perceptions of “perfection” shift when machines can not only compete with human precision and consistency but often surpass them.

Shimmer examines Brazilian identity through material transformation and perceptual ambiguity.

The Candlelight Altar reflects warm light all around you, so you can stop to reflect on yourself.

Ruins of Time explores the subjective nature of reality through the shifting relationship between object, space, and memory.

This project systematically examines the specific micro-tensions embedded within migration, boundaries, and collectives.

Fairy Ring begins with the circular growth pattern of fungi, translated through the portobello mushroom: a species already cultivated, standardised and made useful through human intervention.

These forms and structures are inspired by the living root bridges of Meghalaya, India.

The collection consists of seven textile-based sculptural forms, varying in height and arranged in proximity as a spatial installation.

This immersive installation investigates the uses of A.I. in translating animal language into human language.

In the series The Amphora Era, I use layers—physical and symbolic—to symbolise traces of time.

As food becomes increasingly accessible, its value is often overlooked.

There is a space we inhabit without knowing, the gap between skin and clothes, between what holds and what is held.

‘Fragment of Shrinking Shore’ responds to The Strange Everyday: Rethinking the Ordinary by re-examining fish scales, materials embedded within daily acts of cooking, cleaning, and eating, yet consistently overlooked and discarded.

This collection begins with wood veneer, an everyday material transformed through repeated acts of tearing, bending, folding and fixing.

Barriadas / Roofscapes is a collection of sculptural storage pieces rooted in the self-built landscapes of Lima’s hillsides.

When we interact with the objects that are designed to be touched, do we momentarily form a connection by wearing them?

A teddy bear falls from space.

This collection of lamps is made from biomaterials developed using onion skins, transforming a common kitchen byproduct into a luminous surface.

This collection investigates the friction between individual survival and collective frameworks within urban landscapes.

The Armamentarium Volume is a collection of home objects and furniture developed through dimensional leather embroidery, 3D-printed textiles, and chainmaille.

I grew up around jade, so for me it has always been part of the everyday, not distant, not rare.

A chair is both an everyday object and a container of precious memory, bearing the weight of lived moments and experiences.

Increase the Noise draws particular inspiration from industry research into the use of British grown mixed species Glulam beams in construction.

This collection reimagines traditional colour thread warping as a contemporary surface practice, transforming textile process into sculptural form.

Sati (สติ), a Thai word meaning ‘to remember’, ‘to recollect’, or ‘to bear in mind’, is an ordinary wooden chair crafted from fallen tree that profoundly embodies on existentialism and the fears of death.

Jade and panels carved from acrylic are utilised in the work to create pixel game images, with modern elegant artefacts designed with a strong ancient charm by combining prehistoric jade artefacts and electronic games.

Through the series ‘Not an Innocent Hole’ I aimed to make the ordinary seem not necessarily wrong, just less right.

What if cooling your tea became a form of music-making?

The Place of Interlocking (Installation & Photography) explores the relationship between “non-places”, spatial memory and uncertain belonging in contemporary urban life.

“Take the biscuits” is the chapter one of the Unknown Beings.

Having grown up in Taipei and currently residing in London, I have intermittently returned to Taiwan over the years.

Sandwich Biscuit is an ongoing post-photographic project that uses recursive image-making, iterative reproduction, and digital reconstruction to interrogate how identity is dismantled and rewritten by cultural symbols and systems of viewing.

This project started with exploring the possibilities of wood.

Sustainability is the goal of all of us designers, I focus on the objects and jewellery of our lives, small objects that are often plastic, disposable, easy to lose, industrial, which often require mass industrial production, and I think about the waste of materials and the pollution of the environment that is caused by the behaviour of people who lose and buy them over and over again.

This series of installations, crafted from porcelain, seeks to evoke a sense of delicacy and fragility inherent in the material while exploring the diverse possibilities of hard substances.

“Time is never a linear pattern, it blooms in its own time zone."

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This project explores how clothing serves as a medium for expressing personal identity.

The inspiration comes from the plants’ cells experiments done by a witch in her laboratory.

“Interspecies conversation”

This collection brings together several works exploring sea creatures through hand embroidery, all of which are newly created for this exhibition.

In my project, I draw attention to the processual nature of ceramic material, understood as its ability to shape itself, to become, and not merely to reflect the creator's intentions.

Places holding memories - Memories holding places

Closer Collection - Dialog Between the Jewellery and Human Body

Taxonomy of a Straw Bundle is a material-led investigation into rye straw as a hyperlocal, regenerative material.

Shavings Column is a luminous object where thin wood shavings form a fragile skin around a transparent core.

My 3D-printed work explores my dialogical relationship with clay by examining how somatosensory experiences shift when transitioning from making by hand to a technological approach through the lens of neurodivergence.

I replace the physical, numerical, tangible meaning of the word weight, with its figurative one, more difficult to quantify because of internal and external reasons.

“Barren: A wasteland, devoid of life, bleak and fruitless.”

The Hollow(core) Bench is part of an ongoing body of work exploring how objects can register human presence and carry emotional trace.

Bees have been called the most important living organisms on Earth.

Phygital Landscapes of my Youth is a window into my upbringing amongst the varied terrain of California.

“SOLAR-“ examines how large-scale energy infrastructures reshape landscapes and cultural memory.

This collection of three mirrors explores reflection not as faithful representation, but as an encounter with light and material.

The Terrazzo Jewellery Boxes are part of my Terrazzo Collection, made from coloured porcelain with hand-finished terrazzo patterns.

Vessels 001 comes from a series of punch needle textile works exploring containment as both form and metaphor.

The Timbre collection began with a technical challenge: how to create a continuous 360° wavy joint using contrasting timbers.

The Takhat Counter Stool continues my exploration of weight, memory, and material responsibility within my collection The Alchemy of Our Fibres. 

ECHOES  is a handwoven steel wire sculpture inspired by the traditional Sardinian Mamuthones masks.

Apricity is a collection of sculptural porcelain lighting inspired by the Latin derivation of this word, meaning “the warmth of the winter sun”.

TSUGI is an ongoing textile series that examines how traditional weaving can continue across shifting cultural and material contexts.

Perpetual Ash: Smoker’s Lung, transforms cigarette ash, often associated with disgust and insignificance, into intricate glazed vessels, challenging perceptions of value and revealing the potential within what seems like ‘nothing’.

This collection explores material memory through glazed porcelain forms defined by tension and precision.

This collection explores how fibre can behave like terrain, holding pressure, shifting under tension, and revealing slow, geological transformations.

The preliminary printing of this series was completed in collaboration with master paper maker Petra Fuzes at the Paper Mill Orfu.

In my response to designing for Verdi’s opera Un Ballo in Maschera, I decided to focus on textures and materials; letting their visual and symbolic properties lead the design.

Future Human Connectivity Devices discusses how human relationships may change when technology increasingly prioritises efficiency, convenience, and automation.

This collection originates from a personal observation: that the remnants left behind in the process of making felt more significant than the finished work itself.

Antaral: 80 hours between breathes 

Disturbance is a sculptural installation comprising carved yew forms and cast pewter elements.

This project presents a series of brooches (approx. 7–13.5 cm) combining silver and aluminium through traditional handcraft and modern industrial techniques.

Our Collective Wisdom is an ongoing series of textile works that investigates how language can be experienced through time and material.

This project is a collection of small-scale furniture made from reclaimed materials and modular ceramic components.

The Buddha cameo within this leaf-shaped pendant functions as a pan-ancestral vessel rooted in East Asian cultural cosmology.

Silver fork pendants and necklaces rest within a translucent frame, as the pendulum of time swings.

This contemporary jewellery collection explores memory, material, and invisible labour through transparency and trace.

Desire–Healing Landscape investigates desire as a fluid energy of transformation through Eastern philosophy.

Moving to the Netherlands, I encountered the daily presence of condensation on my windows.

In a world driven by technological acceleration, I seek stillness to heal my anxiety of losing position in the world.

Chronostasis depicts time standing still: butterflies resting for a moment, only to vanish in the blink of an eye.

Dream Residues originates from a state suspended between wakefulness and dreaming.

This series explores the meaning of home and belonging from a sense of distance—both physical and emotional.

‘THROWN AND ASSEMBLED’

Missed is a rose petal wall that blends nature and technology—real petals interwoven with digitally crafted metal ones, made through 3D printing and anodizing.

This collection explores the creative potential of upcycling through the transformation of discarded ironing boards into playful, functional chairs.

This project began with a small, personal moment.

This painting marks my first attempt to give visual form to a long-standing emotional state—something difficult to articulate, yet quietly persistent.

Title: Within the Line, Beyond the Snow

This painting is part of Hyunah Koh’s Generative Soul series, where the surface becomes a living ecosystem, a space of transition, transformation, and tactile imagination.

Thing in Itself is a design inquiry into the fluidity of masculinity and identity, articulated through a reversible tailored suit with multifunctional structures.

Celestial Stones Collection

This collection features two works from my ongoing Hwado series and two new pieces from my emerging Sea collection.

Glass Dunes

This project began with my struggle with insomnia.

Latent RADDicals is a design research project and exhibition exploring Resource Availability Driven Design (RADD), a workflow for building with unpredictable, discarded materials like wood, stone, and architectural waste. When conventional manuals don't exist, we turn the unknown into a design driver.

"From Dust, To Dust" is inspired by dust, which is both material and infinitely close to nothingness, and is the "breath of matter".

This collection reflects a personal journey of reconnection—with nature, with self, and with emotional freedom.

Using a two-channel video narrative mode, we try to contrast the situation of fish with the state of human beings.

This collection centres on the seamless mixture of diverse metals—copper and silver—highlighting the unique appeal of handcrafted metalwork.

The boundaries of time are like blurred markers within the flow of time. We live within time as fish live in water-breathing, drifting, like clouds in the sky or ripples on the sea.

The Artisans of Paris is a photographic collection that celebrates craftsmanship and the profound art of creation.

We Have Forgotten More Than We Remember
Found objects and British rush
2025

A poetic exploration of absence and becoming, where fragile roots and hollow traces reveal identity, memory, and transformation within quiet states.

The body of work “On your way home” is inspired by my father’s journey home as a schoolboy in Jamaica. 

This series of artworks encompasses the unconventional application of techniques such as chiaroscuro (sfumato) and etching within digital creations.

As I am moving through different grounds the houses I lived in distort in my memory.

My Scandinavian Forest collection of big necklaces and rings is inspired by and made from the awe-inspiring wild forests and dramatic landscapes of Norway, which we travelled through in our van last summer.

The work explores the threshold between material intuition and metaphysical form.

This project transforms invisible magnetic flows into visual, sonic, and spatial experiences, challenging our perception of reality and social order.

Dionysian City is a project grounded in in-depth research and immersive fieldwork across London.

‘Rhapsody in Brass’  is a personal and expressive jewellery collection that explores the intersection of music, memory, and making.

In 2021, Ohata developed a method for creating artificial skin textiles embedded with their own skin texture, first showcased in a Haori jacket referencing Hyakkiyakou Emaki, a historic Japanese scroll depicting Yōkai folklore.

Out of Focus, In the Moment is a visual poem that pays tribute to warmth, movement, and mystery.

Part I, ‘Find Shan-shui in London’ : London’s skyline is translated into shan-shui ink panels; 1-point laser surveys set the geometry, while dilute carbon ink maps human scale against steel “mountains.”

My collection FLOW explores water’s many states—fluid, solid, mineralized, reflective—as metaphors for emotional transformation, adaptability, and resilience.

This series explores how we can healthily cope with pressure—especially when no one teaches us how.

The Learning Market emerged from a personal process of intuitive construction during a time of social upheaval.

Summer Solstice · Rooted in Transition is a cast-glass sculpture that captures the tensile energy of midsummer’s threshold.

I am a collector of unimportant things.

Stitch is a hand-carved wooden bowl made from two London trees: a black ash tree from Ealing and a plum tree from Camden.

"Unfolding" is a photographic series that delves into the liminal spaces between memory, imagination, and reality.

Unfastened is a performance and material study that explores the act of undoing as a form of embodied knowledge.

“Your Free Nation” explores the fragile, often absurd foundations of nationhood.

This collection explores space as a site of emotional memory, autonomy, and quiet resistance.

ESCAMA is a collection of stools made in collaboration with Virô, a company that collects leftover materials from the scenography industry.

I watched 100 clouds..

This series explores the long-lasting impact of childhood sexual violence experienced by myself and two close friends.

My Shanzhai Theory explores the entanglement of language, meaning, and cultural hegemony through material poetics.

Dusu Mundusu m’e u’ Homini is rooted in an intuitive, self-directed exploration of cultural memory and personal identity.

Negative Gaze series is based on the power geometry of shirt collars, exploring the fluidity of power, identity, and visual control through folded metal structures.

Finger Food investigates the cultural themes around food and sharing through the lenses of South Asian heritage, art, and design.

“Confluência” is a hand-made sculptural jewellery collection that explores the transformative relationship between material, body, and meaning.

Growing up, I was surrounded by textiles through my Grandmother, Auntie, and Sister. 

This project explores time through the process of forging and seeks to make the act of thinking visible.

“Self-Generated Phytoncide” is a drawing-based collection that reawakens imagination and transforms it into material form.

<Playground> is an immersive audiovisual experience centered around sound healing, integrating original music production.

This project explores a sense of place through the raw materiality of the River Thames.

“Candy Boxes” explores the bittersweet emotions I associate with sweets from my childhood.

"This Relationship is" examines the fundamental complexity of sibling bonds through contemporary jewellery.

Shimmer Ripple is a collection of large-scale, body-conforming accessories inspired by the fleeting ripples of sunlight on water.

It feels rather lucky to have spent my childhood by the sea in Whitstable, a town world famous for its oysters, and means I have been graced with buckets full of delicious girlhood memories of collecting oyster shells and taking part in the town's annual Oyster Festival held in the summertime.

I’m interested in the human interactions and in the connection with one self.

This collection explores figurative and abstract sculpture through handbuilt ceramics.

This collection of wallets and cardholders is a tribute to the beauty found in nature’s textures, colours, and rhythms.

We’re proud to share our latest summer collection: Blue Hour.

This collection explores the emotional potential of everyday objects through playful, tactile ceramic design.

‘Territory of the Unsaid’

Glassborn emerges through an instinctive, non-linear process of material listening and cultural excavation.

His first collection exhibited at LDF presents Sebastian's philosophy and modular approach to design.

 Torn Heart (2025) is a poster design project that visualizes the inner rupture caused by human jeal ousy and envy.

Nascent is an inflatable latex sculpture that explores the fragile, generative tension between material and becoming.

I TOUCH WHAT RESISTS TOUCH.

This series of leather reliefs emerges from quiet sensations held within the body — impressions that speak without words.

Exploring the Soft Resilience Within is an ongoing body of research and experimentation that merges traditional hand-making techniques historically associated with female artisans—such as weaving, looping, coiling, crochet, and braiding—with unconventional, malleable materials including galvanized wire, metallic twist ties, and chenille stems.

Held in Blur emerged from a process I was never formally taught, layering intuition with tactile experimentation.

This project draws inspiration from the post-punk music style.

I grew up watching my hometown’s landscape shift under the weight of extreme weather—storms, floods, and droughts that have become more severe over time.

WAVE is a sculptural furniture collection inspired by my upbringing on the island of Taiwan, where the ocean’s presence shaped my sense of movement and connection.

The Empty Rings series explores the themes of fullness and emptiness.

There are two branches: individual differences and individual connections.

Euphemeria is a series of sculptural jewellery crafted from brass, pearls, and stainless steel wires, reflecting the ephemeral nature of beauty and its connection to memory and identity.

She reflects the inherent value of the histories that inform our lives while challenging binary notions through ceramics and glass, materials that endure and transform under extreme temperatures.

Euphonious Seasonality

This collection explores the intersection of craft, ritual, and community through objects that invite slowness, interaction, and curiosity.

In this ongoing series of works on paper I begin by silkscreening a rich dark green onto various paper stocks, this becomes the starting point for each subsequent artwork.

Motherly Love

This body of work explores how ceramics can serve as carriers of memory, transformation, and environmental commentary.

A vibrant dialogue between architecture and craft, where woven bamboo forms balance structure and fluidity, celebrating tradition, movement, and sustainable material beauty.

I see everyday objects as a humble reflection of human thoughts. Their presence silently fills every gap in our daily life, leaving traces of unsaid things. 

Rosary beads are used to pray for a better future.

Immersing myself in the traditions of Ikebana, arranging a single flower to symbolise eternal life, or bending a branch inspired by a gentle autumn wind, I realised how closely intertwined my personal life was with the lives of flowers and with nature.

Lingering Longing is an interactive installation that researches the language of longing.

As an almost unseen yet omnipresent element of modern times, the palm nut underpins a variety of global industries across the globe.

Surfacing The Crack is a series of hand-woven metal objects, where delicate wires are interlaced, soldered, and forged into form.

The three pieces from the jewellery collection Intimate Touch represent different gestures of sliding or working in front of a touch screen.

To feel the aesthetic of ruin is to lay one's body within the decay, becoming part of the broken tiles. The moment when gazing at the ruin, an inner desolate voice is heard and echoed. 

Horn is a collection that explores the life cycle and memory of materials, sustainability, and the deep connection between people and the land.

The Aurora Light: Crafting Home

The motivation for this series was sparked by Hanyi's early experience with Tourette Syndrome.

The F.ROZE Sixties Door Rug, is a unique fusion of my personal experiences, inspirations, and artistic influences.

Pain Bodies is a series of sculptural knit works that emerge from a personal and collective need to process pain—held in the body, inherited through lineage, and embedded in the fiber.

This triptych draws inspiration from my time living in Paris, The frame of the painting is made by 3D printing. 

“Grunge Me” illustrates the discomfort before performing a spoken word for the first time.

My artistic practice focuses on the contemplation between self-awareness and spontaneous improvisation.

Digital Remains is a speculative burial method in which the digital essence of the deceased is preserved by using synthetic DNA as a data storage medium.

A Scrapbook of Memory is based on the collection of memories from Amy's childhood scrapbook that were mostly painted by her Great Granny throughout my childhood and collected by her mum.

Ata Sué is a luxury leather goods brand founded by British-Colombian Designer Maker, Allison Gómez.

Equus x Alia is a collection of handwoven horsehair textiles that honor the profound, often unspoken bond between humans and horses.

Tesseract: A New Paradigm in Adaptive Architecture

The work is inspired by the novels of Taiwanese female writer Sanmao, who vividly depicts the impact of the modernisation process on the natural environment and human lifestyle with the image of "plastic children".

"Timber Together" reimagines urban living by creating sustainable, shared living spaces for low-income single mothers in Tokyo.