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Xandre Kriel grew up in the industrial canning town of Ashton in the Boland of South Africa, a place that processed and packaged the lush fruit farms of Montague and its surroundings. Every weekend he would drive through Montague's jagged monolithic rock-faced Cogmanskloof pass to visit his grandparents. Sundays were spent breaking apart old Olivetti DE523 computers on the floor of his grandfather's garage, to the smell of grease as he fixed cars. It’s here that Kriel began his fascination with form; the tension between the nostalgia of the analogue and industrial, and the imagination of the futuristic.