Victoria Wilmotte returns to 38 rue Madame, in the 6th Arrondissement of Paris, bringing with her many textural delights. Colorscape retains the intense hues and rich texture of her last collection, CONCAV, yet with a twist: finishing techniques that unveil iridescent shifts as one moves around the pieces, where light plays an essential role in how tone is perceived. Brushed and corrugated aluminum finds its spotlight among the finery, reflecting ambient sun and allowing a multitude of hues to exist within a single plane, evoking a sense of possibility. Featuring sculptural lighting, mirrors, and tables, Colorscape showcases 18 new pieces on display alongside some of Wilmotte’s work that has never been shown before.
Defined by color – green, blue, and silver/red – the collection unfolds in families grouped together, whether through shape, color, or tension between materials. Wilmotte is no stranger to acid green, its brushed aluminum finish shifting fluidly with the light. Depending on the angle, it moves from sharp chartreuse to a softer sage, each reflection familiar yet never quite the same. The blue pieces evoke a similarly mercurial spectrum, ranging from the deep calm of ultramarine to the shimmer of powdery sky, layered powder coatings enhancing their depth with frosted and glossy textures. The silver and red family pushes contrast further: metallic planes refract light with a cool precision, while flashes of crimson introduce a raw vibrancy, punctuating the ensemble with intensity.
Material experimentation is at the core of Colorscape. Alongside aluminum, Wilmotte integrates blown Murano glass and richly veined colored marble, pairing the refined irregularities of the handmade and the natural with the strict geometries of powder-coated metal. Rather than fixed categories, the pieces live in tension: natural marble against industrial finish, blown glass in conversation with folded sheet metal. Each surface – whether the vein of a stone, the fold of a sheet, or the surprise of a firing – adds a note of unpredictability, grounding the work in tactility.
For the tables, a contrast of hypermodern legs, extrusions of semicircles, pairs with the delicately rendered marble tops, their thinness a technical feat. It takes immense skill to handle stone at such a scale, the risk of breakage ever-present, yet the result feels light and contemporary. Lighting and mirrors complete the families, their iridescent finishes flickering with the shifting path of daylight, hues appearing and vanishing like the flight of a hummingbird.
Victoria Wilmotte, named on the AD100 2024 and AD100 2025, is constantly pushing the boundaries of materiality. Volumes and the space in between is just as important to Wilmotte, employing a sculptor’s sensibility to much of her work. Texture and finishing is highly important to her designs, revealing or extinguishing the potential of the form. Removing material or adding finish until the desired effect is achieved, Wilmotte has received multiple awards for her work, and has had the opportunity to collaborate with brands such as Poliform, IKEA, and Land Rover.
Victoria Wilmotte with Colorscape
To learn more about Colorscape by Victoria Wilmotte, visit victoriawilmotte.fr.
Photography by Jean-Pierre Vaillancourt.
