The Wood Collection
Round, frameless, and light enough to hang almost anywhere.
Wooden Wall Art
Warm, light, unframed
Stone doesn't take print the way paper does. The surface has its own grain, its own small variations in tone, and the design settles into that rather than sitting on top of it. Two pieces from the same design will never be identical — the stone decides.
Larger pieces are framed in solid pine, a deliberate pairing: stone on its own reads cold and heavy on a wall, and untreated pine softens it enough to live with. The smaller trios come in aged composite frames instead, where the worn grey finish suits the scale.
The wood collection, explained
Each piece is cut from 6mm MDF, an engineered wood board made from compressed wood fibre. It's chosen for one reason: it stays flat. Solid timber moves with humidity, and a round panel that warps even slightly stops sitting flush against a wall. MDF doesn't do that.
The surface is smooth rather than grained, which is what allows the fine detail in these designs to print cleanly.
Most wall art is rectangular, so a room full of it starts to read as a grid. A circle breaks that, and it does something specific to a mandala: the shape of the piece and the shape of the pattern become the same thing, with nothing cropping it.
It also makes grouping easier. Rectangles need to line up to look intentional. Circles don't, so a cluster of different sizes reads as deliberate rather than untidy.
Each piece arrives with fittings already attached to the back. Because they're light, most walls take them without special hardware. A picture hook or a small screw with a wall plug is enough.
The hanger can also be removed and the piece mounted with double-sided tape, which works reliably at this weight on smooth, clean, fully cured paint. Avoid it on textured plaster or wallpaper.
Odd numbers work best. Three or five pieces read as a composition; two or four read as an arrangement that didn't quite finish.
Vary the sizes rather than repeating one. A large piece with two smaller ones creates a centre of gravity, and the eye follows it. All-equal circles look like a chart.
Leave 8 to 12cm between pieces. Circles need slightly more breathing room than rectangles, because the gap between two curves reads narrower than it measures.
Anywhere you want warmth without weight. Bedrooms, living rooms and children's rooms suit them particularly well, and because they're light they work on partition walls, alcoves, and the awkward narrow spaces most art is too heavy or too rectangular for.
They also sit well against wood furniture, where a stone piece can read as two competing materials in one room.
Anywhere you want a piece to feel permanent rather than temporary. Hallways and entryways suit it particularly well, because the material sets a tone as you walk in. It also holds its own against exposed brick, plaster and concrete, where a lighter print would disappear.
In bedrooms it works better on a side wall than above the bed, where the weight of the material can feel heavier than you want the last thing you see at night to be.
For flat wall panels, yes. MDF is the standard material for painted furniture and cabinetry in the UK precisely because of its stability, and it holds print better than solid timber, where grain interrupts fine detail.
What it isn't suited to is damp. Keep these out of bathrooms and away from walls that suffer condensation.