‍

Tuna ExMachina draws inspiration from Deus Ex Machina, the ancient Greek theatrical device: a force that suddenly appears to change the course of the scene. In our version, it is not a god, but a fish. This is our first kinetic sculpture—a transition from still life to movement. A step beyond the inert. We’ve always worked with esparto grass—a noble, dry, earthy, organic material. This time, we chose the bluefin tuna: one of the ocean’s fastest and most powerful creatures. It swims in a straight line, swiftly, hurling its body violently against its prey. But here, its movement slows down. It becomes dramatic. It almost becomes spectral. The sculpture measures 3.2 meters—exactly the size of the largest bluefin tuna ever found at sea. The metallic embroidery reflects light in the space, evoking the sheen of the fish’s skin underwater. The silence, the movement, and the scale create tension, stillness, and beauty.

‍

"We wanted the fish to breathe—not just to be a static object, but a living presence that interacts with the space and with those who inhabit it."

Mare Ex Machina, a new product line consisting of two sculptural pieces of furniture: a table and a high stool. These works expand the conceptual universe of Tuna Ex Machina, tracing a poetic evolution from the articulated figure of the fish toward the intangible environment that surrounds it—a place where the body is no longer present, but its memory remains. 

‍

If Tuna Ex Machina embodied movement and anatomy, Mare Ex Machina is pure landscape: a fluid space where energy, form, and matter are suspended. The pieces, crafted from dyed plant fibers, hand-assembled metal, and wood, explore a visual and tactile tension between the organic and the industrial, the soft and the structural.

“Mare ExMachina represents the elements that might inhabit an imaginary sea where our fish lives and where we, too, might live: a fluid, ever-changing landscape that leaves room for other narratives and new forms of life” 

‍

‍

‍