Carla Malone Furniture

Great mid-century Organic Studio Pottery Weed pot vessel. This piece has a great design with an opening in the center, weed Pot is unmarked, unsigned but believed to be early 1970s p...

A large sculptural ceramic vessel by British potter Alan Wallwork (1931 to 2016). The vessel has a grooved crescent form in neutral brown tones, with...

Crystal Art Glass Sculptural Vessel / Dish / Bowl - vintage Nice Vintage Condition 5.5 x 3.5 inches apx Measurements are approximate. Please be aware that the color on your monitor ...

Sculptural vessels in an ovoid form with walled aperture. Hand-built of gray chamotte Limoges porcelain by Swiss ceramic artist Sonja Duo-Meyer (b. 1953) and executed circa 1995. The...

Yvette is part of the Femme Series, a sculptural exploration celebrating the female form. I am trying to capture the universal balance and grace of the female form. The delicacy of ...

Sakura TFO23036 is a unique burnt orange, cream, jade and multicolored hand-blown art glass sculptural vase, covered in an organic glass shard adornment by the Dutch artist Maarten V...

Ammonite vessel is a unique steel & moon gold sculptural vessel by the British artist Claire Malet. Created from an oxidised re-formed steel can and hand-gilded on the interior with ...

Striped Fold III is a unique sculpture by the British artist Steven Edwards, created from white and coloured parian porcelain. Steven Edwards is a ceramic artist whose work investigates the language of making through the materiality and physicality of clay. Fascinated by process-led making, he uses traditional techniques that provoke unanticipated outcomes, using clay as a medium that sustains the narrative of the making process. The resulting forms embody his interaction and manipulation of the clay using bespoke tools to explore the intrinsic properties of the material. His creative practice starts by purposely placing clay under stress to reveal the natural tension and movement in its surface and form. Throughout the whole making process, he pushes, pulls, compresses and slices the material to provoke a reaction. The final forms are a combination of these making scenarios, translating a theme of duality in their appearance – the contrast of visual distortion and precision, the stillness and movement in form and the surface deception between synthetic and natural. Whilst challenging and pushing his material to the limits, often using clay bodies in ways they are not designed for, Edwards purposely exploits unexpected outcomes. Creating a sense of unease, during the making his clay cracks and buckles, resulting in permanent scars that illustrate the extremes that have been asked of it. Purely aesthetic, these fissures within the surface are an important counter point to the idealised sugary-hued confectionery layered rings. Edwards has exhibited his work at premiere contemporary design and craft shows including British Ceramics...

Canyons are formed by the process of long-term erosion from a plateau level. Then come the cliffs, remaining exposed on the valley walls. Ceren Gürkan is utterly enchanted by their m...

Canyons are formed by the process of long-term erosion from a plateau level. Then come the cliffs, remaining exposed on the valley walls. Ceren Gürkan is utterly enchanted by their m...

hand-carved, joined, sanded and oiled walnut lattice approx. 1.5 cubic feet of volume Perpetually unfinished, our wooden vessel is simultaneously closed and porous, able to clutch ...

Canyons are formed by the process of long-term erosion from a plateau level. Then come the cliffs, remaining exposed on the valley walls. Ceren Gürkan is utterly enchanted by their m...