The papery quality of this porcelain tableware is no coincidence. Argentinian designer Ruth Gurvich constructs vases from paper, sometimes painting familiar ceramic designs on them in Chinese Ming-dynasty blue or the green of Japanese Imari ware. She exhibits them as though they were ceramic installations, placing them in historic interiors, surrounded by gilt furniture and backed by mirrors, in the manner of the porcelain room. Her interest derives from the notion of migratory objects and designs – porcelain in particular – that she believes are indicative of the cultures and people who produced and reproduced and copied and traded and re traded them. The German porcelain manufacturer Nuymphenburn has now produced a range of painted and plain white Lightscape tableware in porcelain, returning Gurvich’s work to its starting point. The distinctive crinkle of paper reproduced in porcelain is a radical new departure for the ceramics industry, where evidence of the paper workings has traditionally been entirely absent, as though an ungainly part of design for industry must be hidden. Here we have a celebration of the design process, of jottings and ideas presented as part of poetic history of porcelain.