Wall Art

Panel widths run 39.4 in (100 cm), 47.2 in (120 cm), 55 in (140 cm) and 59 in (150 cm), depending on the design. Two sculptural pieces sit outside that range: an open ring 27.6 in (70 cm) across and a stacked totem 19.7 in (50 cm) tall.

The 59 in (150 cm) panels are proportioned for three-seat sofas roughly 78 to 98 in (198 to 249 cm) wide. Centre the piece on the sofa rather than on the wall, with the bottom edge about 6 to 8 in (15 to 20 cm) above the back.

Over a loveseat or a two-seat sofa, yes. At 47.2 in (120 cm) the panel fills the wall above furniture up to roughly 78 in (198 cm) wide. Above a wider three-seat sofa, the 59 in (150 cm) option holds the space better.

A queen headboard is about 60 in (152 cm) wide, so the 55 in (140 cm) or 59 in (150 cm) panel lines up close to headboard width without overhanging it. That is the proportion most people are after above a bed.

The widest panel offered is 59 in (150 cm). A king headboard is around 76 in (193 cm), so a single panel covers roughly three quarters of that width and still reads as centred. Nothing larger than 59 in (150 cm) is made.

59 in (150 cm) wide, on the stone-textured panels with a shelf and bud vase. Those same pieces also come in 47.2 in (120 cm) if 59 in is too much wall. There is no extra large option beyond 59 in (150 cm).

The capsule panel is built for that. It stands 23.6 in (60 cm) or 22 in (56 cm) depending on the design, sized for the strip beside a doorway, the gap between a window and a corner, or the run above a narrow console.

The ring measures 27.6 in (70 cm) across. Its centre is open, so the wall shows straight through it and the piece reads lighter than a solid panel of the same width. A walnut shelf runs through the middle carrying a glass tube vase.

It stands 19.7 in (50 cm) tall, built as five stone-effect shapes balanced one on another with a slot at the top for a single stem. It is the smallest piece here and the only one with no light of any kind.

Aim for the panel to sit at roughly two thirds the width of the furniture below it, with clear wall either side rather than running out to the edges. Over a 78 in (198 cm) sofa that points to the 47.2 in (120 cm) size.

Not usually, provided it hangs over furniture rather than on an empty wall. The commoner mistake in a small room is a panel too small for the sofa beneath it. If the wall runs under about 71 in (180 cm), take 47.2 in (120 cm).

Measure the width of the furniture the piece will hang over, not the whole wall, then check the clear height between the top of that furniture and the ceiling or any shelf above. Compare both against the size named in the variant.

Yes. On pieces offered in more than one size, price moves with size and with the other options selected. The fluted sandstone panel, for example, runs from $349.99 to $599.99 across its three widths and its light choices.

The size is written into the variant name on the product page, for example 47.2 in (120 cm). Choosing the variant sets the size, so there is no separate chart to cross-reference and no chance of reading the wrong line.

No single piece is made for that. The widest is 59 in (150 cm), scaled to a normal wall above furniture. For a tall wall, two panels hung one above the other, or a panel paired with the 19.7 in (50 cm) totem, works better.

Far enough to leave a shadow gap beneath the frame, which is what lets the LEDs wash up and down onto the wall behind. The projection is slim rather than deep, so the piece does not read as a box stuck to the wall.

It is an accent light, not a room light. The LED washes the wall behind the panel for a warm halo, soft enough to leave on all evening. It will not replace a ceiling fitting or give you enough light to read by.

On the stone-textured panel the Style option sets both light colour and whether the piece dims, and the dimmable variants are controlled from an included remote. The non-dimmable variants run at one fixed level, so check the option before ordering.

Warm gives the yellow-toned halo most people picture with lit wall art and suits neutral, wood-heavy rooms. Cool is whiter and cleaner against grey and charcoal schemes. Where a piece offers both, the choice is fixed at the variant you order.

No. Nothing in the range is hardwired. The plug-in versions run from a mains adapter with a normal cable into a wall socket, and several pieces are also offered in a battery version with no cord at all.

Yes. The plaster ring, the capsule panel and the fluted sandstone panel are each offered with a battery light instead of a plug-in one. That removes the cord entirely, which is what makes them workable on a wall with no socket behind it.

The fluted sandstone panel carries a No light option, and the stacked pebble totem has no wiring, cable or battery by design. Everything else in the collection is built around its LED and is sold only as a lit piece.

One panel is offered with a choice of US, AU, UK or EU plug, selected as an option before checkout. Pick the one that matches your sockets rather than planning to rely on a travel adapter behind the furniture.

The dimmable variants come with a remote for dimming, packed separately from the panel so it cannot move against the face in transit. Variants listed as non-dimmable run at a single fixed level and are not controlled from a remote.

The LEDs are built into the panel rather than sitting in a socket, so there is no bulb to change. That is normal for integrated LED lighting. If a unit stops working after delivery, contact the store rather than opening the panel.

From behind the panel, not from its face. The LED strip sits at the back and washes up and down onto the wall, so what you see is a halo around the piece. That backlit arrangement is what leaves the shadow gap underneath.

Yes. These run at accent-light level rather than room-light level, which is why they are comfortable left on for hours. Many buyers use the piece as the last light on in a living room once the overheads go off.

No. There is no colour-changing or RGB mode. Each variant is fixed as either warm or cool white and that is chosen at the point of ordering, so decide which suits the room before you add the piece to the cart.

Yes. A plug-in piece runs a cable from the panel to your socket, the same as any plug-in lamp. If a visible cord is the problem, the battery version of the same piece removes it, or hang the panel where furniture hides the run.

The plug-in version draws from a mains adapter and a wall socket and then needs no attention. The battery version has no cable at all, which is what lets it go on a wall with nothing behind it, but its power has to be topped up.

The light sits behind the panel and throws its halo onto the wall, so the shelf and the glass tube catch that reflected glow rather than being lit directly. A single stem in the tube shows against the glow instead of under a spotlight.

No. Nothing here is wired into a wall switch. Plug-in versions are controlled at the plug and, on dimmable variants, from the included remote. Battery versions are self-contained, which is part of why they suit rented rooms.

Yes. Hardware ships with every piece, packed separately from the panel alongside the vase and, where applicable, the remote. You supply only fixings suited to your own wall if the ones included do not match what you are drilling into.

The panels are built on a wood or MDF body rather than solid stone, so they are light for their size. Use fixings rated for your wall type: plasterboard needs proper cavity anchors, masonry needs a plug. Establish which you have before drilling.

Nothing in this range is sold with an adhesive mount, so plan on fixing into the wall. The battery versions remove the need for a socket, which is the other half of the rental problem, but the piece itself still has to be hung.

Keep the bottom edge about 6 to 8 in (15 to 20 cm) above the back of the sofa, so panel and sofa read as one block rather than two separate objects. Centre it on the sofa, not on the wall, if the two do not align.

For the 55 in (140 cm) and 59 in (150 cm) panels it is easier with two: one holding the panel against the marks, one checking the shelf line by eye. The pieces are light for their size, but they are long to handle alone.

Mark and check the fixing points with a spirit level before drilling, because the shelf line is what the eye reads. A panel a degree off looks acceptable bare and becomes obvious the moment a vase with a stem stands on the ledge.

Very little. The panel hangs as one piece and the glass tube drops into its bracket on the ledge. The vase, hardware and remote travel in separate packaging, so open the whole carton before concluding that something is missing.

No. The shelf and the glass tube only work in the orientation the piece is designed for, since the tube stands upright in its bracket and would tip out. Hang each piece the way it is shown on its product page.

Choose the battery version where the piece offers one. Otherwise the cable has to reach a socket, so either pick a wall with one behind or beside it, or route the cord down the wall and along the skirting to the nearest outlet.

It helps but is not essential given how light these pieces are. Where a fixing point happens to land on a stud, use it. Where it lands on hollow plasterboard, fit a proper cavity anchor rather than driving a bare screw into the board.

Yes. The fixings come out and go back into fresh holes without harming the piece; it is the old wall that needs making good. Keep the hardware and, if you expect to move house, the original carton the panel arrived in.

A wood or MDF body carrying a stone-effect textured face. The plaster ring uses a sand plaster finish over a laser-cut MDF base, and the stacked totem is laser-cut MDF finished in the same kind of stone-effect surface.

No. It is a stone-effect texture applied over a wood body, which is why a piece 59 in (150 cm) wide stays light enough for plasterboard. It looks and feels like stone at close range; it does not weigh anything like it.

The face is finished in sand plaster over a laser-cut MDF base, so the surface you touch is plaster while the structure underneath is board. That combination is what keeps a ring 27.6 in (70 cm) across light on the wall.

Partly. The bodies are wood or MDF and the shelves are walnut or a walnut tone, but the face you see is a textured stone-effect or plaster finish rather than exposed grain. It sits between wood wall art and a wall sculpture.

Walnut on the plaster ring, where it runs clean through the open centre, and a walnut tone on the capsule panel. On the larger panels the shelf reads as a slim ledge built into the piece rather than a bracket added to it.

Clear glass on the larger panels, borosilicate on the capsule panel, and a glass tube with a jute collar on the plaster ring. Every one of them lifts out of its bracket so you can fill it at the tap.

The size, shape and colour will match. The texture will not match precisely, because the surface is applied rather than printed and tone and grain shift slightly from piece to piece. That variation is what separates a textured face from a flat one.

Yes. The face carries real relief, whether that is the fluting on the sandstone panel, the carved striations on the largest pebble or the raised grain of the plaster. It catches side light and casts a shadow, which a flat surface cannot.

No. The bodies are wood and MDF under a textured finish, so even the long panels are light for their size. That is the point of a stone-effect surface rather than actual stone: the look, without a weight your wall has to carry.

The plaster and sandstone finishes are porous, so they need to be kept dry. Fill the glass tube at the tap rather than pouring water into it while it sits on the ledge, and wipe up any spill on the face straight away.

Across the collection: Cream, Mocha, Charcoal, Walnut, Sage, Tan and Terracotta, depending on the piece. They are neutrals chosen to sit against a neutral wall rather than fight it, which is why the range works as neutral wall art.

A picture plus a table lamp. The panel does both jobs: it fills the wall above a sofa by day and puts a warm halo on that wall after dark, with no second object taking up surface space below it.

Japandi, wabi-sabi, warm minimalist, modern organic and mid-century rooms. The common thread is a neutral palette and texture instead of pattern, so the piece reads as part of the wall rather than as an image placed on it.

Yes, and the halo shows most clearly on a pale wall. Cream reads as a tone-on-tone piece, while Mocha, Walnut, Charcoal and Terracotta give contrast against white without introducing a colour you then have to work the rest of the room around.

Cream and Sage lift off a dark wall, and the lit halo becomes the strongest element in the room after dark. Charcoal on charcoal is possible but the piece then reads as texture and shadow only, so pair it with a warm light.

Yes, and it is a sound answer for a wide wall where one 59 in (150 cm) panel is not enough. Keep them the same size and the same light temperature, and set the gap between them smaller than the width of either panel.

Better as the anchor than as one member among many. These pieces have depth, a shelf and a light, so surrounding them with flat frames makes the frames look thin. For a group, use one panel plus one or two small objects.

A single stem is the intent: a tulip, a eucalyptus sprig, a dried lavender stem or a rooting pothos cutting. The tube is narrow, so a full bunch will not go in, and the piece looks unbalanced once the ledge is crowded.

Both work on the pieces that carry a glass tube. Fresh means lifting the tube out and filling it at the tap so no water goes near the textured face. Dried stems skip that step and suit pieces hung high on a wall.

Only where there is real height to spare, since the panel wants clear wall around it and a television brings its own bracket and cables. Above a console beside the TV usually works better and lights a wall that would otherwise stay dark.

Very little, by design. The ledge is slim and the composition is balanced around a single stem. The plaster ring ships with a small ceramic figurine at the far end of its shelf, which is about as much as the ledge is meant to carry.

Like a textured wall sculpture. The relief catches daylight from the side and casts its own shadow, so the piece is working before it is switched on. The light is the second half of the object rather than the whole of it.

Walnut and Mocha pick up the same brown tones and tie into oak or walnut pieces already in the room. Cream and Sage do the opposite and give the wood something to sit against. Tan sits between the two in a warm scheme.

Not if you take the quiet colourways. Cream or Sage in a single silhouette reads as one calm shape, and the light is an accent rather than a feature. The busier looks come from the contrast colours, not from the pieces themselves.

That is one of the intended positions, and the oval panel is described for the space over a console. In a hallway the halo gives you low light at night without a lamp occupying the console top.

No. Left empty, the glass tube reads as part of the sculpture rather than as something missing. Empty is the usual choice on pieces hung high, or in a hallway where refilling water would become a chore nobody keeps up with.

It is the position the range is built for: above a sofa, above a console, or on the empty wall opposite the seating. The wall art for living room sizes reach 59 in (150 cm), so they hold their own over full-size furniture.

Yes, above the headboard. The 55 in (140 cm) and 59 in (150 cm) panels line up with a queen headboard, and the low halo works as the last light before sleep. A battery version avoids running a cable behind the bed.

Yes, on the wall beside or behind the table where a picture would normally go. The halo adds a second light level beneath a pendant, and the panels stay quiet enough that they do not compete with what is on the table.

Yes. The narrow capsule panel exists for exactly this: the strip beside a door, or the run above a narrow console. The light gives you a low glow in a hall that otherwise has nothing but a ceiling fitting.

Yes, particularly on the wall behind a desk where it shows on video calls. Choose a warm light if the room is otherwise lit by daylight and screens, and hang it high enough to clear a monitor and any shelving.

Not recommended. The plaster and sandstone finishes are porous and the range is intended for indoor rooms that stay dry. A bathroom with a shower puts steam against the face repeatedly, which is not what these surfaces are built for.

No. These are indoor pieces. The bodies are wood and MDF under a textured finish, and both weather and damp fall outside what they are made for, so keep them on interior walls under cover of a roof.

On a dry wall away from the hob and the sink, yes: a breakfast nook wall, or the run above a sideboard. Keep it clear of splashes and cooking steam, since the textured finishes are porous rather than wipe-clean.

It is one of the reasons the battery versions exist. No hardwiring, no electrician and no socket needed behind the wall, so the only mark you leave is the fixing holes, which fill and paint like any picture hook.

Yes, if you size it to the furniture rather than to the room. The 39.4 in (100 cm) and 47.2 in (120 cm) panels, the 27.6 in (70 cm) ring and the narrow capsule all fit walls a full-size panel would swamp.

The pieces carry a glass tube vase and a shelf, both within reach if hung low, so hang well above a child's height or choose a piece without a vase. The stacked pebble totem has no light, cable or glass at all.

A dry soft brush or a dry microfiber cloth, worked with the relief rather than dragged across it. Do not use a damp cloth on the plaster or sandstone faces, and do not use sprays, since those finishes are porous.

Lift the glass tube out of its bracket, fill it at the tap, and drop it back into the ledge. Never pour water into the tube while it stands on the piece, because any spill lands on a porous face.

Take the tube out and wash it at the sink like any narrow vase, using a bottle brush if a stem has left a residue ring. Let it dry fully before returning it to the bracket so no water runs onto the shelf.

Try a dry brush first. The finish is textured, so a light mark often disappears back into the grain once the dust is off. Avoid solvents and scrubbing, which polish the texture flat in that spot and show more than the mark did.

Run a dry brush, or the soft brush attachment of a vacuum, along the top edge and the shadow gap under the frame every few weeks. Dust gathers in that gap because it is where the light escapes, and it shows once lit.

Keep the original carton where you can, since these ship flat and braced on all edges. Pack the glass tube, the remote and the hardware separately from the panel, and carry a long panel flat rather than resting on its edge.

A framed picture is flat, needs its own light, and usually hangs beside a lamp doing that job. These carry real texture in the face, a shelf with a glass tube for a stem, and a light of their own, so one object covers both.

The stone-textured panel with a shelf and bud vase is the core of the range and the safest choice above a sofa. If the wall is smaller or the budget tighter, the plaster ring at 27.6 in (70 cm) does the same job in less space.

The stacked pebble totem at $139.99. It stands 19.7 in (50 cm) tall, has no light, cable or battery, and hangs on the hardware included in the box, which makes it the simplest way into the range.

They are two outlines of the same stone-textured panel. Arch is the calmer, more symmetrical shape and suits a formal or symmetrical wall; Wave has a curved edge that reads softer. Both take the same colourways and the same light options.

Dimmable if the piece will be the only light on in the evening, since you will want it lower than full output. Non-dimmable is fine where the room has other lighting and the halo is only one layer among several.

Plug-in where there is a socket within cable reach and you want to forget about it. Battery where the wall has nothing behind it, where you are renting, or where a visible cord would spoil the piece, as it often does above a bed.

The stacked pebble totem. It has a slot at the top for one stem instead of a shelf and glass tube, and there is no light and no cable, which makes it the plainest option in the collection.

The pieces at the lower end travel best as gifts, because they need no size decision about somebody else's sofa. The totem at $139.99 and the capsule panel at $274.99 both work without knowing the exact wall they will go on.

Match the tone to what is already in the room rather than to the wall paint. If the furniture is warm wood, take Walnut, Mocha or Tan. If the room runs grey and cool, take Cream, Charcoal or Sage instead.

Shipping is free and tracked on this collection. You get a tracking number to follow, which matters on a long panel because it lets you be at home for the delivery rather than have it left leaning against a wall outside.

Each piece ships flat and braced on all edges. The vase, the remote and the hardware are packed separately from the panel, so open the whole carton and account for those parts before assuming anything is missing.

Send a photo within 30 days of delivery and you will be sent a replacement or a refund. Photograph the outer box as well as the piece if the carton is crushed, since that shows where in the journey the damage happened.

The panel, the glass tube vase where the piece carries one, the mounting hardware and, on dimmable variants, the remote. Props shown in the photographs, including flowers and styling objects, are not included with the order.

From $139.99 for the stacked pebble totem up to $849.99 for the largest stone-textured panels at their fullest configuration. Most pieces fall between the two, with price moving by size, colourway and the light option chosen.