Objects with Narratives Vases

The Reef Series combines an innovative exploration of textile materiality with a refreshing colour scheme and fuzzy tactility. The unique knitting and casting process brings the pieces to life, evocative of coral reefs and underwater life...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

At its core, my work rejects the idea of perfection. Being free of flaws and defects directly contradicts my idea of freedom of expression, and I see my work as a vehicle for communi...

This piece is a part of an ongoing series of ceramic sculptures that explore the boundaries of material, the language of making and the characteristics of form. It has been developed...

This piece is a part of an ongoing series of ceramic sculptures that explore the boundaries of material, the language of making and the characteristics of form. It has been developed...

Striped Fold XIII is part of an ongoing series of ceramic sculptures that explore the boundaries of material, the language of making and the characteristics of form. It has been deve...

Monochromatic Fold is part of an ongoing series of ceramic sculptures that explore the boundaries of material, the language of making and the characteristics of form. It has been dev...

The collection called ‘Gradienti’ is inspired by the infinite colour nuances of the sky. The technique used to make these vases is called ‘sfumato’, where the goal is to achieve impe...

The collection called ‘Gradienti’ is inspired by the infinite colour nuances of the sky. The technique used to make these vases is called ‘sfumato’, where the goal is to achieve impe...

The collection called ‘Gradienti’ is inspired by the infinite colour nuances of the sky. The technique used to make these vases is called ‘sfumato’, where the goal is to achieve impe...

The collection called ‘Gradienti’ is inspired by the infinite colour nuances of the sky. The technique used to make these vases is called ‘sfumato’, where the goal is to achieve impe...

The collection called ‘Gradienti’ is inspired by the infinite colour nuances of the sky. The technique used to make these vases is called ‘sfumato’, where the goal is to achieve impe...

Striped Symmetry Fold II delves further into my systematic approach to making and is a natural evolution of surface decoration observed in my Fold series. Exploring the interplay of ...

The Sakura glass Art collection uses cherry blossoms as its inspiration.“I am bewitched by spring”, Maarten Vrolijk explains. “Where I grew up in small Dutch town. There was a very special cherry tree in our garden that I felt very connected to in a certain way"". ""I regard my Sakura glass as a canvas where I paint with the various glass pieces like a painter with his paint”. As a child there was something magical about how the black dark branches were converted into something magnificent in the form of cherry blossom that was apparent everywhere. I could not understand how people could keep on working or carry on living in the normal way when this miracle was in progress and nature was wakening again. Children see more clearly. As adults we are so busy fighting for our own egos, for money, success, a bigger house and suchlike that we forget what is important. ” The glass vessels are recognised with their outgrowth of colored glass fragments. The volatility in accomplishing the exceptional thickness of his vases creates a risky balance between strength and delicacy. The thermal stress caused when trying to equalize the interior and exterior temperature of the cooling vessels, is fraught with the threat of breakage. The vessels show show a duality between the crystalline clarity posed against their substantial physical impact. To create each piece, a meticulously patterned bed...

The Sakura glass Art collection uses cherry blossoms as its inspiration.“I am bewitched by spring”, Maarten Vrolijk explains. “Where I grew up in small Dutch town. There was a very special cherry tree in our garden that I felt very connected to in a certain way"". ""I regard my Sakura glass as a canvas where I paint with the various glass pieces like a painter with his paint”. As a child there was something magical about how the black dark branches were converted into something magnificent in the form of cherry blossom that was apparent everywhere. I could not understand how people could keep on working or carry on living in the normal way when this miracle was in progress and nature was wakening again. Children see more clearly. As adults we are so busy fighting for our own egos, for money, success, a bigger house and suchlike that we forget what is important. ” The glass vessels are recognised with their outgrowth of colored glass fragments. The volatility in accomplishing the exceptional thickness of his vases creates a risky balance between strength and delicacy. The thermal stress caused when trying to equalize the interior and exterior temperature of the cooling vessels, is fraught with the threat of breakage. The vessels show show a duality between the crystalline clarity posed against their substantial physical impact. To create each piece, a meticulously patterned bed...

The collection called ‘Gradienti’ is inspired by the infinite colour nuances of the sky. The technique used to make these vases is called ‘sfumato’, where the goal is to achieve imperceptible transitions between hues of soft colours. Because of the unpredictable behaviour of the colours during melting and during the hot working pro- cess, every vase is different: sometimes the transition from one colour to another is perfectly smooth, other times you can read a clear transition, a kind of horizon. This unpredictable component is what makes each vase unique. To make a piece, two colours of molten glass are combined at the beginning of the glass-making process. They are then dipped in an extra thin layer of transparent glass and mouth-blown into a wooden mould. Finally, the opening of the vase is shaped freehand. After cooling overnight in the kiln, the vases are sandblasted and waxed giving the pieces a satin, smooth and soft surface. Gradient mouth-blown glass, fading from steel blue to warm grey, sandblasted and waxed. This piece has been designed by Laura Sattin...

The collection called ‘Gradienti’ is inspired by the infinite colour nuances of the sky. The technique used to make these vases is called ‘sfumato’, where the goal is to achieve imperceptible transitions between hues of soft colours. Because of the unpredictable behaviour of the colours during melting and during the hot working pro- cess, every vase is different: sometimes the transition from one colour to another is perfectly smooth, other times you can read a clear transition, a kind of horizon. This unpredictable component is what makes each vase unique. To make a piece, two colours of molten glass are combined at the beginning of the glass-making process. They are then dipped in an extra thin layer of transparent glass and mouth-blown into a wooden mould. Finally, the opening of the vase is shaped freehand. After cooling overnight in the kiln, the vases are sandblasted and waxed giving the pieces a satin, smooth and soft surface. Gradient mouth-blown glass, fading from steel blue to warm grey, sandblasted and waxed. This piece has been designed by Laura Sattin...