Featured table setting
A seat at Denzel Kramer's dream table
What does the ideal dining table look like for those who dedicate their lives to beauty? Serax asks 3D rendering artist Denzel Kramer, who set aside the classic dining table and instead created three serene scenes of togetherness.
Can you introduce yourself first?
“I’m Denzel, 27, and alongside my work as an interior architect, I’m a self-taught 3D rendering artist. What began as a personal fascination has grown into a fully developed second practice. I design digital spaces with the idea of imperfection in mind, adding a small touch of ordered chaos, as if they are lived in. Many renders tend to look cold and sterile, but I aim to create images in which you can sense a human presence lingering. For me, the digital world is an extension of the real one, not a replacement.”
For Serax, you didn’t design just one dream table, but three dream scenes.
“That’s right. I didn’t want to create a classic table styling, but rather capture three moments: morning, afternoon, and evening. Each setting tells its own story. The morning scene is intimate, a couple just waking up, enjoying a cup of tea and the fresh outdoor air. A cast iron teapot, glasses from the Inku collection, the atmosphere is serene, with a subtle Japanese touch. For the afternoon scene, I picture a group of friends gathered in a sunken lounge. There’s talking, music, a few drinks. The space breathes a relaxed mid-century vibe. The evening is richer and more formal, a Burgundian-style dinner for two. Not necessarily romantic, it could just as well be with your grandmother. Think: warm lighting and the feel of a French bistro. I hope the viewer wonders: who was here, and what happened? The images invite you to complete the story yourself.”
Your 3D images are strikingly realistic and display beautifully captured light.
“Light is the most difficult, and at the same time the most important, element in a render. It determines the credibility of the image. If the light is off, everything instantly feels artificial. Dark atmospheres are the hardest. You have to find exactly the right balance between light and shadow, and even the black tones within the shadows are crucial for believability. Beyond the technical aspect, light is also particularly important for creating atmosphere.”
Where did you find the inspiration?
“I started from Serax’s objects and looked for a setting and atmosphere that would complement them. I define that style as Belgian minimalism. Clean lines, neutral colours, and minimalist shapes are combined with warm materials and a certain natural quality. Think of serene spaces with black window frames, touches of glass, muted tones, and earthy textures. Good examples are the glassware by Kelly Wearstler, the Japanese lamp by Seppe Van Heusden, or Vincent Van Duysen’s sunken seating area. Belgian minimalism is understated, but never cold. Dark, yet still warm. It combines architectural rigour with a touch of rusticity. It’s a style we as a country can be proud of. And Serax embodies that style, it’s in their DNA.”
Your images feature a lot of glass. What draws you to that material?
“Glass is technically the most difficult material to render realistically, and I love a challenge. Think of the reflection of a simple glass of water on a table, it requires extreme precision. Ceramics or porcelain are easier in that respect. At the same time, glass also fascinates me aesthetically. It’s handmade and brings subtle sparkles into a space. Like water, it conveys a sense of fragility, and that’s exactly what makes it so powerful."
Your images convey not only serenity but also a poetic sense of solitude. Is that intentional?
“My images capture the moment just after people have left the space. Their presence still lingers in the air. That emptiness is meaningful, it leaves room for imagination. You can sense that something has happened, and that’s the feeling I want to capture. In many 3D renders, that’s missing. They feel empty in the wrong way. I want the human presence to remain visible, through a glass still on the table or a chair slightly out of place. Even a digital space should feel lived in.”
