Skip to main content
Design Products (MA)

Shraeyas Massey

Shraeyas is a Canadian multi-disciplinary designer based in London. He completed his Bachelor’s in Industrial Design at Emily Carr University of Art + Design in 2020 and worked as an independent designer before joining the Royal College of Art in 2022. 

His practice explores the emotion of objects and the ontological boundary between object and human. Shraeyas’ work aims to create conversation around design philosophy by emphasizing expression and nuance.

A picture of me.

I have recently been on a journey of ‘meaning’ creation; trying to find and create meaning through objects. The journey began by attempting to enhance the emotional connection between human and object. I then realized that for an object to truly have meaning, it must have an emotion of its own as if it were a conscious sentient being. I aim to bridge the gap between human and object by giving objects agency to express themselves.



Deadless is a project that explores the notion of preciousness and value. It is an ambiguous artefact that is revealed to be a toilet brush. 

This work revolves around a series of conflicts that unfold on multiple levels. The first conflict is between form and function - Sculptural design has always been reserved for precious objects like artefacts and jewelry. There is an understanding that decorative design is a symbol for value while utilitarian design is used for mundane objects. The second conflict is the conflict of Touch - The toilet brush is an object that no one wants to touch because it is repulsive whereas sculptural artefact is an object that one cannot touch because it is too valuable. Both objects are not touched but for completely opposing reasons. The third conflict is a conflict of desire - This is an internal conflict where one cannot decide whether to be enchanted or disgusted by the artefact. The fourth conflict is a conflict of functionality. While the project may be perceived as a beautiful toilet brush, it is not functional. The copper material should not be used in the wet and damp environment of the bathroom as it oxidizes and corrodes. The water guard to prevent splash-back is also too close to the bristles and will undoubtedly touch the toilet when used.

These conflicts aim to create strong opposing emotions that invite the viewer to question the nature of value. How could a precious artefact be placed in a toilet? Why is the toilet brush viewed with so much disgust? The notion of preciousness is largely arbitrary that creates a hierarchy between objects. It is these design elements that serve as value signalling within a larger social fabric. 

We place the untouchable artefact above us in value whereas the function of the untouchable toilet brush is forced upon the object. The toilet brush did not ask to clean toilets but was forced to. It was given a job that we would never do ourselves and should be celebrated for that. Once this is understood, there is no longer any conflict in Deadless.


Subsurface Flows

Why is it that a tree is alive but the same tree cut into a table is not? What if we looked at objects the same way we looked at trees. Subsurface Flows is about this idea.

These are a series of lamps that sense and react to light in an attempt to make the object conscious. It is an exercise of using form to give agency to objects. They change colour depending on how far the surfaces are to the light - Expressing nuance.