2010s Bowls and Baskets

'Waves No 654' is a handblown glass bowl by the British artist, Neil Wilkin. 'Waves' is a collection of beautifully crafted, unique glass bowls and centrepieces by the British artis...

Arno Declercq is a Belgian designer who's varied influences include art, architecture, fashion and tribal arts. With a background in interior design, Arno launched his distinctive home collection in May 2017. The Arno Declercq collection features bold designs in wood and metal – with each piece handcrafted and entirely unique. A tropical wood called Iroko that Arno discovered on one of his many trips to West Africa is used along with Belgian Oak in the creation of the objects and furniture. The designs are treated with the ancient Japanese technique of "Sho Sugi Ban...

A deep blue bowl with a lovely crystalline glaze designed by Isak Isaksson in Sweden. The bowl is 17.5 cm (7") in diameter and about 10 cm (4") high and it is in excellent condition....

Modern footed stoneware bowl. Finished with a soft, white glaze. Karina Vieira is a Brooklyn-based ceramicist focusing on handbuilt vessels. Her work references various styles...

"Kogetsudai (beige)", 2015 coiled nylon cord, sewing thread "Kogetsudai (beige)" is one of four works made in the approximate shape of the Kogetsudai gravel mound in the garden of Ginkaku-ji in Kyoto, Japan. Upon my first visit to this garden, I was fascinated with the Kogetsudai, and the more I learned about it the more my interest was piqued. The feature is one of two special gravel mounds there, which are made from fine grey gravel or sand and re-shaped nearly every day by the gardeners. The name translates to something like "moon-viewing platform" but the reason for the name, the shape, and its significance has been lost to history. Some speculate that the name derives from how the top of the cone appears as a silvery moon-like reflection against a sea of gravel at night when viewed from the upper floor of the adjacent Silver Pavilion - and that the shape may be a reference to Mount Fuji. The Kogetsudai at Ginkaku-ji is a "frustum" shape about 2 meters tall and records show it being in its current shape and approximate dimension since the late 1700's. The shape is very powerful but it is made only of moistened sand. I made this series as a way to study the shape and understand its geometry and presence. I wanted to be able to sit with that shape in a room. I made the shape as a vessel to reinforce the idea of the shape itself, rather than as a solid mass. Furthermore, the dedication to the continual rebuilding of the form and object over and over through time, without a need for any "function" other than beauty and cultural continuity, was similar to how I have come to think of the act of vessel-making by humans. We likely inherited vessel-making skills from our pre-sapiens human ancestors, and have continued this activity over hundreds of thousands of years, and in a proliferation of materials from fibers, wood, clay, metal, glass, plastic, and more. Especially since the beginning of the Holocene, a certain amount of vessel making has had no function or purpose other than for cultural continuity and the cultural, formal, craft, and visual aesthetics within the multitude of human cultures. In this series of works, the continuous length of rope coiled into a conical helix also serves as an expression of this continuity through time, perhaps working towards a yet-unknown endpoint or goal, while creating a space that is simultaneously empty and loaded. This work was first exhibited in 2015 at Patrick Parrish Gallery as part of my solo exhibition "what it is". It was later shown at the Haystack Mountain School of Craft in Deer Isle, Maine, as well as several other group exhibitions. It has also appeared in several design and art publications in print and online. Since 2010 Doug Johnston has produced a wide range of functional and sculptural objects using a process of coiling and stitching rope using industrial sewing...

Todd Merrill Studio has represented artist John Procario since 2016. Having grown up around his carpenter father’s workshop, Procario entered the world of art and design with a well defined love of woodworking and a distinct vision inspired by his reverence for the material’s possibilities and limitations. Starting with his Freeform Series, and later translating and taking inspiration from this series to develop new works, Procario has continued to produce elegant, contemporary, and minimalistic designs that capture its audiences emotionally through sensation and observation. ? While studying sculpture in graduate school, Procario developed a unique aesthetic that began with the notion of wood as metaphor for the human body. “I would describe my work as having a heartbeat,” says Procario. “Each one has so much personality. As you move around them, the forms appear to shift and change. Just as we push the limits of our bones and muscles, I enjoy pushing the limits of wood to create a sense of strain in the material’s gesture,” Procario further elaborates. By pushing the limit of breakage, Procario creates a sense of strain in the otherwise fluid gestures of his works. Conceptually, this reveals beauty to be the product of stress. ? This evocation of the human form found throughout his Freeform Series can also be found in his recent furniture...

A striking, sculptural piece, 'Agave' comes from a dream of ancient times celebrations and precious offerings. This piece of work is very representative of Teste narrative yet simple...

Often referred to as the stone of the gods, this breathtaking lapis lazuli hails from Afghanistan, where the finest quality has been mined for centuries. Crafted out of a single bloc...

Our aim is the emotion, through glass, lighten by the spirit of art. 1295 Murano is a furnace, a design lab and an interior point of view regarding to the most exclusive producti...

Feather Platter I is a unique piece by the British artist, Amanda J Simmons. Working with the flat sheet glass, Simmons layers powdered colours to create her desired textures, tre...

Equinox Centerpiece is a family of candleholder and centerpieces playing with volumes, textures and graphic elements, designed by Day Studio for GAIA&GINO. Day Studio fuses astrono...

-Made in 2015 -Nylon and cotton cord, sewing thread. "Pitchdrop" was made in 2015 as part of a body of work for my exhibition "what it is." It is a sculptural vessel-form object made by coiling and sewing nylon and cotton rope with an industrial zig-zag sewing machine. The piece is not made with a specific form in mind when started, so its shape emerges somewhat organically during its making. Multiple smaller, individual vessels are made, then joined together. More rope is coiled and sewn onto the new form, and new parts are incorporated and built upon from there. This piece features a main body sewn with black nylon cord, which acts as a visual and physical anchor for the object. From this, a series of smaller arm-like appendages grow ni coiled cotton cord. Since 2010 Doug Johnston has produced a wide range of functional and sculptural objects using a process of coiling and stitching rope using industrial sewing machines...

"Kogetsudai (black)", 2015 coiled nylon cord, sewing thread "Kogetsudai (black)" is one of four works made in the approximate shape of the Kogetsudai gravel mound in the garden o...

"Kogetsudai (navy)", 2015 coiled nylon cord, sewing thread "Kogetsudai (navy)" is one of four works made in the approximate shape of the Kogetsudai gravel mound in the garden of ...

"Untitled (Navy Shroud)", 2015 coiled nylon cord, sewing thread, urethane resin "Untitled (Navy Shroud)" was made as part of a group of works exploring objects as shroud spaces. The pieces create a space, the contents unknown, upon which the viewer's understanding becomes one reality, while another reality of the object itself is in continuous withdrawal from the viewers' perception. The exploration was based on contemplations of "Schrödinger's cat" and Object-Oriented Ontology. The work was made by coiling nylon cordage and sewing it together on an industrial zig-zag sewing machine. In the process of coiling, irregularities are introduced that alter the overall form as it is being made. These irregularities are placed and responded to improvisationally, working towards a composition that appears as if a thick cloth is loosely draped over an object of indeterminate form. The interior of the nylon vessel was then coated by hand with a black epoxy resin, which solidified the textile into a rigid shell. The result is a free-standing shroud-like object, which is to be placed into a space as a sculptural object, to conceal other objects, unsightly architectural features, etc. This work was first exhibited in 2015 at Patrick Parrish Gallery as part of my solo exhibition "what it is". It was later shown in 2017-2018 at the Cranbrook Art Museum in Bloomfield Hills, Michigan, as well as several other group exhibitions. It has also appeared in several design and art publications in print and online. Since 2010 Doug Johnston has produced a wide range of functional and sculptural objects using a process of coiling and stitching rope using industrial sewing machines...

-Made in 2015 -cotton cord, and sewing thread. "Untitled (Vessel 6)" was made in 2015 as part of a body of work for my exhibition "what it is." It is a sculptural vessel-form object made by coiling and sewing cotton rope with an industrial zig-zag sewing machine. The piece is not made with a specific form in mind when started, so its shape emerges somewhat organically during its making. Multiple smaller, individual vessels are made, then joined together. More rope is coiled and sewn onto the new form, and new parts are incorporated and built upon from there. This piece features a large base sewn with black-dyed cotton rope, which acts as a visual and physical anchor for the object. The form is simultaneously architectural and creature-like while retaining a conceptual and actual openness. Since 2010 Doug Johnston has produced a wide range of functional and sculptural objects using a process of coiling and stitching rope using industrial sewing machines...

Organic bowl by contemporary artist Domingos Tótora. Made of recycled cardboard. Domingos Tótora creates objects and sculptures where beauty is inseparable from function, lifting co...

This piece shows Chris Knights's continued exploration of silver as he challenges its use; turning away from the material's traditional application and using its qualities to freely ...

White Carrara marble bowl for cats and dogs, made in Italy, Carrara. Size small. Each piece is in a way unique (every marble block is different in veins and shades) and handmade by ...

White Carrara marble bowl for cats and dogs, made in Italy, Carrara. Size Medium. Each piece is in a way unique (every marble block is different in veins and shades) and handmade by...

Unique medium bowl in bent and welded nickels on a stainless steel base. Designed and made by Johnny Swing, USA, 2017.  

Unique small bowl in bent and welded half dollars, quarters and nickels on a stainless steel base. Designed and made by Johnny Swing, USA, 2018.  

Big handcraft white Carrara marble plate, with the shape of a leaf, that is perfect to beautifully present food or can be used as a centrepiece. Each piece is in a way unique (ever...

Big bowl in Paonazzo marble with the shape of a leaf. Each piece is in a way unique (since each marble block is different in veins and shades) and han...

Big bowl in grey Bardiglio marble with the shape of a leaf. Each piece is in a way unique (every marble block is different in veins and shades) and handmade by Italian artisans speci...

Small bowl in grey Bardiglio marble with the shape of a heart. Each piece is in a way unique (every marble block is different in veins and shades) and handmade by Italian artisans sp...

A diaspro marble "vide poches" or vessel, from Stephane Parmentier's Mercury collection Limited edition of 24 + 4.

One of three vessels developed as the material maquette's for Brian Thoreen's larger works. Comprised of a cast bronze bowl, grey marble and grey glass. Also available in brown or re...