Sculptural Vessel, Ark, Volume II, Paradigm Shift, by Mark Sturkenboom

Love Potion by Mark Sturkenboom Pink Dripper Size: 40 x 40 x 20 cm, approximate 6 kg Material: mouth blown glass, 18-karat goldplated brass, cut and polished glass. Edition: No....

Dual Love Potion by Mark Sturkenboom Size: 40 x 40 x 20 cm, approximate 6 kg Material: mouth blown glass, 18-karat gold-plated brass, cut and polished glass Edition: No. 1 / 25 u...

Yellow Love Potion by Mark Sturkenboom Size: 35 x 40 x 20 cm, aprox 4 kg Material: mouth blown glass, Facetted and polished glass dimmable led lamp Love potion is a series of ...

Alabama Chrome Sculpture by Mark Sturkenboom Dimensions: W 90 x D 25 x H 40 cm Materials: Welded Aluminum Mark Sturkenboom (Driebergen, 1983) is an artist that graduated with honor...

Sweet Anticipation Mousetrap by Mark Sturkenboom Dimensions: W 35 x D 30 x H 50 cm Material: Mouthblown and Engraved Glass, 14kt Goldplated Brass, Raw Uncut Diamond...

Venus Chariot Sculpture by Mark Sturkenboom Dimensions: W 45 x D 10 x H 10 cm Material: Mouth Blown and Engraved Glass Mark Sturkenboom (Driebergen, 1983) is an artist that graduat...

Striped Fold II 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...

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...

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 ...

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...

'Double Helix' is unique glass artwork by the British artist, Peter Bowles. Initially studying glass at Stourbridge College of Art and Design, Peter Bowles went on to work with som...

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...