The Meridian Collection

Robert Patterson’s trays begin with a familiar American form — the bentwood oval and round silhouettes long associated with early workshop traditions. The rim construction quietly recalls historic tray-making methods, grounding each piece in a lineage of honest, functional craft.

But inside that restrained edge, the surface shifts.

Each piece is scored from a single, continuous wood panel — not inlaid — and then layered with pigment and finish until the pattern develops depth and vibration. The result feels almost architectural. In some pieces, the rhythm reads as radiant; in others, directional or grid-based. The geometry can feel structured, even disciplined — yet the hand remains visible in the subtle variations of surface and tone.

There’s a compelling tension at work: traditional form containing contemporary pattern.

Patterson refers to these as art objects — and that distinction matters. While fully functional when used thoughtfully, they resist being reduced to mere serving pieces. They live comfortably between table and wall, between craft and image.

Made in Georgia and built patiently over weeks, each tray carries both lineage and experimentation — rooted in American workshop construction, yet visually aligned with a more modern, surface-driven language.