Because home is our spot in the world.
As has often been said, it is our universe, a real cosmos by all means.
An attentive look can perceive beauty even in the most humble residence.

Gaston Bachelard The poetics of space


I am not a designer and I do not want to be one, I only have one life. But everything is a source of inspiration to me, a sort of vice. I love materials and everything that could take shape, maybe decontextualizing an idea or a technique. Changing the rules and mixing up the cards of the game I can give other responses and have other options. It may be risky, but it's just what an explorer would. Even a rusty crooked spike has its own beauty. The fact that my "thoughts" are useful in daily life really satisfies me. The act of placing a glass on my artwork or even a cat climbing on it makes it complete and alive. So I would say that for me, facing my "non-design" is above all a mental and human experience.

A painter, a sculptor, a designer... but first of all an artist for Art. Nëri is a multifaceted person who loves to investigate on a broad spectrum. Attracted by shapes, colors and symbols, he transforms every impulse into research. His days are filled with brain work, everything becomes a source of continuous and incessant inspiration. Nëri exhibits the fruit of his creativity dedicated to design, towards which he has turned his attention since the eighties, without ever renouncing being an artist and indeed contaminating design with his art. "Everything is "form", no matter what look and angle you give, the world is full of objects where contamination is a continuum." Sculptures with a deconstructivist flair are transformed into elegant tables, with the Fusioni line simple ovoid shapes, corrugated cardboard sheets and river stones become home objects. An interesting egg, an aluminum fusion of a real egg cut longitudinally in half, containing a cavity that reminds the round shape of the yolk (where to place the real egg), becomes an original egg holder. Desk pads and wall coat racks, cutlery, lamps, tables and much more. Challenges such as whole artistic studies and interior designs have been accepted and won by Nëri with great originality and creative courage, thanks to his sensitivity to the shape and volumes coming from his experience as a sculptor and from the masterful use of color, always trying to balance aesthetics and practical use. The elements used by Nëri to create his objects are also the protagonists of his paintings and sculptures.
Patrizia Bottallo from Just Design


A TREE AT HOME: a library. Paper is made from trees. Books can now be reunited with those who created them. A form of justice... I would say.


"VINTAGE"? some works, more or less recent, others decidedly "OLD"!

HORIZONTAL PLANS: I would do anything not to call them tables...


SKATE/1997 - Sandblasted glass, metal on wheels


SKATE - prod. SINTESI s.p.a/1997 - Sandblasted glass, metal on wheels


SKATE 1 - 1996 - Sandblasted plexiglass, metal on wheels

This is the precursor of the articulated one, a fast sign in space.


Smith/1998 - metal, wood


Smith/1998 - metal, wood


ROCKS/1996 - metal, glass

"Good morning, I'm Mrs. S., architect P.'s wife. Do you have in mind that crystal table in our living room? Unfortunately, it got scratched, what can we do?"... a Flying Carpet!

Albatros came to my mind when I met the owner of a company specialized in anti-aircraft military shields. Being against weapons, for at least a few hours I used them for doing something harmless! The name of the table is Albatros, the commercial slogan that I invented given the history of the table. It was perhaps poetic, but also sibylline.

"I would like a shape that dominates space, free and unusual. I would like it light and powerful like a beating of wings. I wish I could see it in flight."

This work comes from my experiences in Asia and Polynesia, combining the wonderful wengé wood with mother of pearl, handling the subject as if it were a Zen garden.

I thought of Deconstruction for the dining room of a seventeenth-century villa on the Turin hill, full of arches overlooking the garden. It is so long (almost five meters) that each arch frames a part of the composition, creating an interesting interchange…



A tribute to Sicily, like lava rock, hard and hot land.


TORII/2002 - steel, wood, glass

A torii (鳥 居) is the traditional Japanese gateway which leads to a jinja (Shintoist shrine) or, more simply, to a sacred area. The wooden bases slide into the girder and the size of the glass can be changed. This work was inspired by my Asian experiences too.


FLEXIBLE/2001 - steel, wood, leather

Two tables for endless meetings: a more serious one in engraved travertine, the other more unconventional with holes for the cables, with the leather areas for the mouses inserted in the composition.


ARCHEOLOGY/1990 - engraved travertine


ARCHEOLOGY/1990 - engraved travertine


I wanted to make a marble table but I wanted it to be light. I was inspired by the stackable chairs of cafes to make the bases, which could fit together so that I could also ship them in air containers. For years I have mass-produced this Module, in the high and low version, using different types of marble, but acid-etched, to remove that polished look that was in vogue back then and that I absolutely didn't like.



After a tour in the Parisian Brancusi atelier, in front of the Centre Pompidou, I was truly amazed by those "endless columns". So I thought that if a column is "endless"... it could do something else, precisely, infinite. So I figured a modular "sculpture", as high as wanted, that could be admired as long as wanted. But if you should ever want to disassemble it, with two elements you could make a living room table, with four of them a dining table. When the table was cleared, if you really didn't know what to do, you could always reassemble everything. Simple, isn't it?

THE LIGHT: yeah, a nice subject, even risky...
to the "light" that shapes everything and creates ambiance.

Shōji 商事 in Japanese means "the art of managing light". I've always liked factories, the sound of work, the huge and bulky machines, the people who know how to use them, as if they were locomotive motormen of the past. One day I happened to walk in one of these "factories". I was immediately struck by the bending machine, eating flat steel plates and creating sinuous shapes for gutters. The next day I went back and asked the "conductor" if I could stay there for a while. I stayed a whole afternoon and in the evening I went to the machinist, who had become a friend of mine, and said: "We take a galvanized sheet of 8 / 10-2000x1000 and put it in the machine, then turn 7 times like this and then...". He looked at me, a little surprised, and told me that for forty years he had been doing that job, that he thought what I was proposing could not be done and that I was making a mistake. But every now and then, in my opinion, you have to think like a madman. And a machine that has always been doing that job, might also be bored. It became a challenge. I still remember his expression, when the first Shōji came out after the procedure! I oxidized it with an old technique that a tinsmith had taught me, I hid a neon tube in it, I took the grinder to let out the signs of light ... always different, that mechanical action panting, expression of body movement and state of mind. A lamp that looked always the same only because it was mass-produced, but in reality always different.

The Monitors were born from a rib of my purest "artist" work. I was working on the oxidations, on my "plowed" lines of the land, with my stones. At a certain point, I wanted to invert the shadow they projected on the plane, replacing shadow with unexpected light, almost a spite. Then I took a cue from the history of art and from the artists I felt closest, contaminating the surface with their heritage…


MONITOR/1995 - metal, plexiglass


MONITOR/1995 - oxidized copper, stones, plexiglass


MONITOR/1995 - metal, plexiglass


MONITOR/1995 - metal, plexiglass

The JURASSIC lamps are the "eggs" of the Jurassic sculptures that I made at that time. Having that shape it was almost natural to think of Spatialism and Fontana. I somehow had to make the light "come to light" from the egg!


JURASSIC/1995 - lominous floor ceramic egss

Mobil is a "luminous" sculpture in metal welded with crystals and stone. A ceiling-floor rotation acts as a 360 ° mobile wing. With a simple gesture, you can invent a living-dining room, always different.

In this series called "Baroque", the ancient traditions of gilding and patination marry the lines of modern art with a particular focus on certain "small theaters" from Fontana".


BAROQUE/2002 - sandblasted crystal, gold leaf

STORING: yes, they are useful, but the important thing is that they do not look like "wardrobes", those walls 60 cm from the wall, anything but not wardrobes... this is the rule!


ARCHITECTURE/2000 - wood, copper, aluminium, stone, bronze






ALUMINIUN/1994 - aluminiun




CONSOLLE/1986 - stainless steel, treated with grinder signs

My ex-mother-in-law, on the phone, in the morning: "... so tonight I'm having dinner with you, I'm thinking that I have a console to give you", knowing her taste... Thanks, but we already have it!


OXIDATION/2000 - copper


Sometimes customers are or become friends. Here, two works made specifically for them. I made the library for a friend who throws really explosive parties, the next morning the house seems bombed. In this case, I was inspired by Guernica. Later, I created a closet door for another friend, just returned from the Big Apple, who after a ride to the Moma had fallen in love with action painting.


GUERNICA/1993 - enamelled wood


PAINTING/1999 - painting on wood

BEDROOM: it's nice to work in the bedroom (no double entendre). A selection of three of my works, a bedside table with a zen flair and two bed headboards a little "erotic", we could say this time...


ZEN/1998 - resin, aluminum, stones on wood


SEX - BED HEADBOARD/1997 - aluminum, copper, leather, fabric cushion on wood


PATMOS/1994 - wood, aluminum, leather

HEATER COVER: when you say, a work that warms the environment...


COVER THERMO/2000 - galvanized sheet

A COUNTER: a somewhat "drunk" composition...


COVER /1988 - engraved zinc

STANDS AND SHOWROOMS: : it is interesting to plan this kind of thing every now and then, the beauty of it is that you know from the beginning that they will not last long, so you work having a certainty and without presumptions.

How many times have we thought that something was "eternal"?
and then...


ROBERT WAN TAHITI - BASEL - exhibition stand, years 2004/2008


ROBERT WAN TAHITI - BASEL - exhibition stand, years 2004/2008


ROBERT WAN TAHITI - BASEL - show room, year 2003


ROBERT WAN TAHITI - BASEL - exhibition stand, years 2003/2004


ROBERT WAN TAHITI - BASEL - exhibition stand, year 2003


ROBERT WAN TAHITI - BASEL - exhibition stand, year 2003


ROBERT WAN TAHITI - BASEL - exhibition stand, year 2003


ROBERT WAN TAHITI - BASEL - exhibition stand, year 2006


ROBERT WAN TAHITI - BASEL - exhibition stand, year 2006


GOODMEME - MILANO MODA/installation, year 2008


MARINAPIÙ - MILANO/exhibition stand, years 1990/1993


MARINAPIÙ - MILANO/exhibition stand, year 1988