Dedalo di Sienna

Dedalo di Sienna wallpaper comes from an idea of space told through thresholds rather than lines: a field of quadrangular cells — squares and rectangles of varying proportion — set edge to edge, whose shared boundaries trace a labyrinthine path that folds back on itself through a closed fabric of compartments. The corridor is not drawn: it can be read only in the shift of tone from one cell to the next, in the flat language of Neoconcretism, where every field of colour meets the next at a right angle, without outline.

I wanted the weave to stay earthy and warm — terracotta, ochre, burnt sienna, warm white — dotted with rare tones of charcoal and with a single cell of cadmium red or cobalt to mark every turn of the path. The field narrows towards an off-centre knot, where the passage grows tighter, then releases into a wider cell: a directional thrust that knows no symmetry, only breath and return.

Close up, the apparently identical planes reveal small irregularities: the faintly uncertain mark of an edge drawn by hand, subtle variations of tone, the pencil ghost at the points where three or four planes meet. It is in this double scale — legible from a distance, intimate close up — that I recognise the craft value WallZad keeps in every roll, where each Dedalo di Sienna wallpaper is printed as a single continuous composition, without repeat, made to fill the wall like one chromatic breath.