Charlotte Jonckheer 1:PAPER / All Works with Paper:
GLAZED PAPER LAMP : WALNUT
2025
In the Glazed Paper Lamps I designed structures to support the paper while allowing freedom of movement. To form one object, the two materials are joined together but they are not fixed.
The organic shades are made from mulberry paper and finished with a linseed bio-coating, creating a strong material with an almost transparent glazed look. For the Walnut Glazed Paper Lamp I first handpainted the paper with natural oil and bister, before finishing it with the bio-coating. The resulting nuances of brown give the lamp a soft glow and a dim light.
The woodwork is made of walnut by Matisu, with special attention paid to the visible joints.
GLAZED PAPER LAMP : METAL
2025
In the Glazed Paper Lamps I designed structures to support the paper while allowing freedom of movement. To form one object, the two materials are joined together but they are not fixed.
The organic shades are made from mulberry paper and finished with a linseed bio-coating, creating a strong material with an almost transparent glazed look.
The metal structure is finely crafted from stainless steel by Boris Pellegroms.
FULL PAPER TABLE
2025
The piece consists of two CPC* components, an 8 mm curved piece and a thin flat plate, which are joined together by a walnut wood connector. This simple joint holds the elements in place as their respective weights and densities are compatible. As the table is lightweight, I incorporated a stone element into its base. This stone can be slid onto another walnut connection point at the bottom to anchor the piece, providing both visual and physical balance. The paper is coated with walnut ink to strengthen the surface, which is then finished with a casein lacquer and wax. The two paper parts are air-dried to create organic shapes that highlight the beauty of paper's movement. This is a unique characteristic of this material.
*The CPC (Chaud Paper Composite), is a material I have been developing since 2018 that combines paper waste with stone powder.
IMPERMANENT MATTER COLLAGES
ONGOING
I began my 'Impermanent Matter' (IM) series of paper collages using leftover material from the atelier. Since making mistakes is an essential part of my design process, I often end up with various types of CPC waste. Accepting chaos, disorder and chance is not only part of life, it also fuels the creative process. This is especially true of paper, given its volatile nature. These unpredictable shapes and textures of the leftovers become sources of inspiration. Coincidence also challenges me to embrace aesthetic choices that are sometimes different from those I would normally make. I have developed a production process for my paper collages (IM), whereby I select the elements to be combined, but leave the final composition to chance. It's an exciting process that consistently yields surprising results, which I can then reframe to achieve the desired balance.
SEASONAL COLLAGES
ONGOING
Following the principle of the Impermanent Matter collages I create each season a series of collages, multiples of an idea. They are quick and intuitive studies that resonate with a particular concept or feeling, or sometimes simply arise in reaction to whatever is laying around.
CPC BENCH
The design of the CPC Bench introduced a new shape within the CPC typology: a “fat curve” with a thickness of 4 cm. To achieve this shape, we collaborated with Anco de Jonghe to create a custom mould for pressing the paper, resulting in a strong, durable form.
To respect the lifespans of the materials and allow for dismantling, we developed metal horseshoes that hold the paper curves in place without permanent fixation. While the strong paper structures support the heavy stone top, the stone (Pierre de Muzillac) adds its own weight and stability in return.
These organic forms, with their seemingly mineral appearance, were designed in harmony with the curve of the client’s interior, responding sensitively to the architecture and the dynamic of the space.
