A small workshop in east London, known for its eclectic collection of plaster-cast ornaments, is closing after nearly four decades. Stoned and Plastered, located at 21 Ezra Street, was a rare shop specializing in stone and plaster-cast items—ranging from architectural details like cornices and ceiling roses to quirky decorative pieces, including reproductions of Hindu gods, Grecian figures, and even a fashion brand’s Medusa head.
The shop’s origins trace back to 1987, when it began as a workshop housing over 1,000 moulds accumulated through craftsmanship, purchases, and donations from prestigious London institutions. Unlike museum collections, where objects carry hierarchical value, Stoned and Plastered’s focus on a single material, plaster, stripped away those distinctions. The workshop’s collection included a disordered, uncategorised ‘archive’ of reproductions that flattens hierarchical ideas around the value of objects and symbols, featuring everything from ancient Grecian figures to quirky genitalia with angel wings.
The workshop’s closure reflects broader shifts in how society values craftsmanship. Pete, the shopkeeper and craftsman, recalled how the space had evolved from a specialization in architectural ornaments to fulfilling custom requests, even casting human bodies into stone. He also spoke of the generosity of Kip, the original owner, who allowed artists to use the workshop for their projects and provided Pete with mentorship early in his career.
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For Pete, the workshop was more than a business; it was a refuge. During difficult times, he found focus there, surrounded by the tactile process of mould-making and cold-casting. The shop’s significance extended beyond its products to the skills and community it nurtured. Over nearly 40 years, it became a place where people could learn, experiment, and develop expertise through hands-on practice.
Many of the moulds were sourced from unexpected places, including donations from London’s elite institutions. This blending of high and low, museum-quality casts alongside whimsical designs, challenged traditional notions of what plaster-cast objects could be. Yet, as the shop prepares to close, the future of these skills remains uncertain. The knowledge embedded in its walls, passed down through years of observation and practice, risks fading without spaces like Stoned and Plastered to preserve it.
Giulia Shah, an artist, plans to release a publication in October 2026 commemorating Stoned and Plastered, though the workshop’s physical legacy will depend on who chooses to preserve its methods.
