ExKamara emerged from a moment of inner realignment.

At a turning point shaped by motherhood, its founder, Hlatki Dorottya, realised that former ways of working no longer felt sufficient. Returning to making with her hands, she found in shaping light a way of rebuilding home — both physically and inwardly.

Without formal training in ceramics, the process remains open and experimental, grounded by Dorottya’s background as a designer and her sense of proportion, structure, and functional responsibility. Working primarily with earth, the practice is material-led; fire enters later as a necessary force that reveals and completes what has been formed. At the core of ExKamara lies this balance: transforming an intuitive, fearless creative process into a functioning lighting object.

ExKamara lamps are not conceived as mere objects, but as characters — quiet totems that shape atmosphere across different spaces. The interior is imagined as a domestic stage, where light plays an active role. The name ExKamara, derived from the Latin “ex kamara” (“from the room”), reflects both the world of interiors and the personal creative space described by Virginia Woolf in A Room of One’s Own. From this layered meaning the lamps emerge carrying the same message they first offered their maker — that through a deeply personal gesture, a place can be found within a wider, universal order.