ronan & erwan bouroullec capture 'sfumato effect' in 'losanges' enameled ceramic vases

French designers Ronan and Erwan Bouroullec have collaborated with Finnish company Iittala to create 'Ruutu,' a collection of ten mouth-blown borosilicate glass vases. The series, which translates to 'diamond' or 'square' in Finnish, is available in five sizes and seven distinct glass colors. The design intention behind 'Ruutu' was to allow the vases to be collected and combined, forming seamless miniature installations that highlight both the strength and delicate nature of the glass. The designers aimed to craft pieces that would capture light and introduce color into a home environment. Ronan Bouroullec emphasized the intricate and precise process of creating these vases, comparing it to a theatrical production. The making of each vase involved carefully choreographed gestures by artisans, navigating the extreme heat and malleability of molten glass. This meticulous craftsmanship is central to achieving the desired aesthetic and structural integrity of the 'Ruutu' collection. Erwan Bouroullec noted the inherent challenge in shaping glass, a material that naturally favors roundness and curves, into precise geometrical forms. The choice of a diamond or square shape, despite glass's tendency to flow like honey, was strategic. This geometric form was ultimately selected because it allowed the designers to achieve their core objective: creating a shape that could be reproduced in various sizes and intermingle perfectly. This intermingling of different sized and colored vases creates a dynamic interplay of color and an intersection of volumes, reminiscent of blending liquids into watercolors. Each vase in the 'Ruutu' collection is individually mouth-blown, underscoring Iittala's commitment to traditional craftsmanship and the unique qualities that hand-made items possess. The collection embodies a balance between the designers' vision for precise geometry and the organic nature of glass blowing. The overall effect is a versatile and visually engaging series of vases that can function as standalone decorative objects or as part of a larger, cohesive display, allowing users to create personalized arrangements that reflect their aesthetic preferences and interact with light and space in varied ways. #RuutuVases #RonanAndErwanBouroullec #Iittala #MouthBlownGlass #GlassDesign #HomeDecor #FinnishDesign #ContemporaryDesign #VaseCollection

French design duo Ronan and Erwan Bouroullec have launched a new collection of architectural glass panels, developed in partnership with Skyline Design. This collection, which debuted at NeoCon, received a Silver award in the Architectural and Decorative Glass category. The project represents a thoughtful exploration of color, light, and scale, drawing inspiration from various observations in their daily lives. The design process began with the brothers capturing photographs of their surroundings, ranging from natural landscapes to urban scenes. The aim was to distill the inherent sensations of colors and light present in these everyday moments. From a selection of eight initial images, Erwan Bouroullec utilized a custom computer script to analyze the color information. This script then condensed the captured colors into a unique base color for each panel, simultaneously transforming the rhythmic qualities of the original images into distinct patterns. A subsequent layer of translucent patterns further enhances this foundational color, resulting in a multitude of additional color variations. The patterns are delineated by a darker outline, intentionally designed to evoke the lead lines found in traditional stained glass. This technique aims to mimic how lead frames shape the visual experience of stained glass, with the lines in the Bouroullec panels subtly influencing the distribution and density of colors, creating an almost imperceptible shift. The Bouroullec brothers specifically sought to reinterpret the captivating qualities of stained glass found in medieval cathedrals. Their objective was to translate the immersive and atmospheric experience of these historical artworks into contemporary architectural glass. The complex interplay of color and line within their panels is designed to create a sensation of being enveloped within an abstract landscape, evoking a similar sense of wonder that one might experience in a medieval cathedral. Skyline Design’s digital print and manufacturing capabilities bring these designs to fruition. The panels offer considerable customization options in terms of size, scale, and color, allowing them to be adapted for diverse applications. The collection features four distinct pattern variations: Oblique Regular, Oblique Bold, Chevron Stroke, and Chevron Fill. Each of these patterns is available in four monochromatic color schemes or four polychromatic palettes. These versatile glass panels can be integrated into various architectural contexts, both internal and external. Potential interior applications include feature walls, space dividers, and stair railings. For exterior use, the panels can be incorporated into facades, railings, and canopies, demonstrating their adaptability to different design needs and environments. #BouroullecBrothers #StainedGlass #ArchitecturalGlass #SkylineDesign #ColorAndLight #DesignInnovation #InteriorDesign #ExteriorDesign

The Adagio tile project, designed by Ronan Bouroullec for Mutina, revolutionizes the use of ceramics by transforming individual modules into large-scale, fabric-like wall installations. The term "Adagio," Italian for "slowly," reflects the unhurried and intentional process behind creating these intricate designs. Each ceramic module, simple on its own, interlocks to form complex reticular structures, echoing the texture and visual depth of woven textiles. This innovative application showcases Mutina's manufacturing capabilities and Bouroullec's design ingenuity. The core of Adagio's design lies in its single ceramic module, which measures 2.7 x 30 centimeters. This minimalist form transcends traditional functional constraints of tiles, offering an architectural sleekness. The modules are double-fired as white paste ceramic and then hand-finished to achieve an ultra-glossy surface. This meticulous process ensures a lustrous sheen and a sculptural effect, with all vertical sides of the module fully covered by the glaze. The precise notch on the back of each element is key to their interlocking mechanism, allowing for diverse configurations. Adagio is available in five glossy glazes: Bianco (white), Grigio (gray), Rosso (red), Blu (blue), and Verde (green). To simplify design choices, Mutina also offers five pre-defined color combination sets: Grigio + Blue, Grigio + Bianco, Grigio + Verde, Rosso + Blu, and Rosso + Verde. These combinations ensure harmonious integration within installations, making it straightforward for users to transform ordinary wall spaces into extraordinary artistic statements. The versatility of Adagio allows for endless arrangements, ranging from highly structured and enclosed patterns to more fluid, organic compositions that appear to expand naturally across surfaces. Beyond its aesthetic appeal and innovative design, Adagio embodies Mutina's commitment to environmental responsibility. The base tile body is formulated without Volatile Organic Compounds (V.O.C.) and other hazardous substances, adhering to stringent environmental standards. Furthermore, the product's packaging is designed to be fully recyclable, ensuring that the project's ecological footprint is minimized throughout its lifecycle, from production to eventual installation. The project debuted at the Résonance exhibition earlier this year at the Centre Pompidou in Paris. This exhibition celebrated Ronan Bouroullec's significant contributions to contemporary international design. Adagio was prominently featured as an entire wall installation, serving as a backdrop for other works by Bouroullec for Mutina Editions. This display not only demonstrated the modular system's adaptability but also its capacity to integrate various color palettes and configurations seamlessly. Adagio's inclusion in this prestigious exhibition solidified its impact and led to its acquisition for the Centre Pompidou's permanent collection, underscoring its lasting value in modern design. #RonanBouroullec #Mutina #CeramicTiles #ArchitecturalDesign #WallInstallations #ModularDesign #HomeFurnishings #SustainableDesign #ContemporaryArt

The article discusses the debut of "Cascade," a new lighting collection designed by British creative Lee Broom for Lladró, an artistic porcelain brand, at Euroluce, a biennial exhibition of lighting design in Milan. This collection explores the duality of porcelain as a material for lighting, moving beyond its traditional uses and presenting contemporary designs rooted in the ritual of celebration. Broom's inspiration for the collection stemmed from his immersive experience at Lladró’s factory in the "City of Porcelain," outside València, Spain, where he gained a deep understanding of porcelain's intricate nature and the challenges involved in crafting precise geometric forms from it. This experience allowed him to push the material's boundaries while preserving the integrity of its craftsmanship, ultimately expanding his perspective on working with porcelain in innovative ways. "Cascade" comprises three primary porcelain pendant lamp silhouettes: two different-sized orbs with a distinct horizontal break and a vertically aligned tubular element. These made-to-order lamps feature a fine black cord, allowing for custom, cascading configurations. These intentional arrangements create narrative-driven connections, referencing traditional lanterns that are often strung together. The collection also includes a portable table lamp variation, enhancing its versatility and decorative appeal for various settings. A key aspect of Cascade's design is its dual personality. When unlit, each lamp appears opaque and solid, showcasing the classic, pure white form of porcelain. However, once illuminated, the fixtures transform, revealing a translucent quality that challenges conventional perceptions of porcelain's capabilities. This transformation is achieved through highly engineered production methods that combine a thin layer of material with multiple LED configurations to produce the desired luminosity. Broom expressed his satisfaction with achieving his vision of porcelain that transitions from a crisp white when off to a warm amber glow when on, similar to candlelight. He emphasized that this effect evokes an emotional response and brings a sense of joy, reminiscent of lanterns at celebratory events. The article highlights how the "Cascade" collection successfully blends traditional craftsmanship with modern design, utilizing Lladró’s material expertise to create lighting that is both functional and emotionally resonant. The collection is anticipated to be available on lladró.com starting in September. #LeeBroom #Lladró #LightingDesign #Porcelain #Euroluce #MilanDesignWeek #HomeFurnishings #DesignInnovation #CeramicCraftsmanship

The annual 1000 Vases exhibition in Paris, founded in 2018 by Francesco Pirrello, celebrates the vase not merely as a container for flowers, but as a standalone object of art. Pirrello's vision for the exhibition prioritizes unique pieces from independent and emerging artists, asserting that a truly good vase does not require flowers to demonstrate its aesthetic merit. This perspective was inspired by his friend Roberto Baciocchi, an Italian architect and avid vase collector. Initially conceived to feature a large quantity of works, symbolizing abundance and diversity much like the '1000-sheet' delicacy of mille-feuille or the fables of 1001 Arabian Nights, the exhibition ultimately adopted a 'less is more' approach, showcasing around 100 items. This adjustment aimed to allow visitors to appreciate each piece individually and engage with the artists. Pirrello observes that contemporary vase-making trends show a predominance of women artists and a preference for ceramic materials, noting that vases are accessible, affordable, and easily incorporated into any space, referring to them as "democratic objects." This year's 1000 Vases exhibition, running during Paris Design Week until September 8, highlights the works of eight participating artists, each bringing a distinct perspective and technique to the art of vase creation. Chous Ceramics, a duo from Sparta, Greece, presents hand-built sculptures that explore balance and tension, drawing inspiration from nature and Greek ceramic history. Their predominantly beige vases are characterized by voluminous bases and open, elegant rims. Belgium-based artist Dietmar Michiels, born in 1988, works with ceramic sculpture, employing coiling, plating, and throwing techniques with porcelain and glaze to create imaginative, creature-like pieces often accompanied by conversational titles. His work draws from everyday inner experiences, the mystical, historical art, the occult, and various cultural identities. Hellen Song, an artist from Shanghai now based in Toronto, uses ceramic vessels to delve into themes of the human condition, philosophy, and nature, often influenced by the supernatural and Impressionistic mark-making. Her exhibited stoneware vessel, with its blue and white tones, evokes a seascape, representing a range of emotions through the metaphor of water bodies. The collaboration between French artist Coco Brun and Mexico City-based Sten Studio yields the 'Mistico' vase, a geometric, multi-colored piece made from red travertine, Venetian marble, and pink onyx. This work pays homage to Meso-American culture, with each color carrying symbolic meaning related to rituals, fertility, and the balance of masculine and feminine energies, inspired by Meso-American architecture. Norwegian artist Karin Amdal presents 'Pluss', a pair of smooth, round terracotta pots designed to form a 'plus' sign when combined, showcasing her style of creating simple yet characterful pieces that often incorporate extensions or words. Amdal's inspiration stems from nature and everyday life, with her pieces designed to be open to interpretation and evoke a smile. Magdalena Zarychta, a multidisciplinary Polish artist specializing in decorative and stained glass, showcases her (COM)PRESSION vase. This hot-formed, blown glass object is hand-shaped, embossed, and features botanical markings, symbolizing traces of the past akin to fossils. Istanbul-based artist Sara Montazeri's coral reef-like artwork, crafted from stoneware clay, pays tribute to the 13th-century Sufi poet Rumi, incorporating his words "You are my soul and my world" in gold Farsi script, blending tradition with modern organic design. Finally, New York City-based writer and artist Emily Tate Moreu, inspired by ancient Greek pottery, creates minimalist, thoughtful pieces that explore the philosophies of form and human interaction, including greige vessels, abstract sculptures, and a stoneware candelabra. #VaseExhibition #ArtisticVases #CeramicArt #IndependentArtists #ParisDesignWeek #ContemporaryDesign #HomeDecor #SculpturalVases #DesignTrends

Drag And Drop, a Romanian design and manufacturing studio co-founded by Madalin Gheorghe and Dragos Sabareanu in 2019, is known for its innovative approach to design, merging advanced technology with artisanal techniques. The studio's ceramic collection showcases this philosophy by reimagining the function and aesthetics of everyday objects, specifically vases. The creation process leverages a large 3D-ceramic printer to produce intricate patterns, which are developed using sophisticated algorithmic modeling software. Throughout the design and manufacturing process, a strong emphasis is placed on sustainability, aesthetic appeal, and overall quality. The collection features five distinct vase designs, each drawing inspiration from natural patterns and traditional craftsmanship. The 'Intertwined' vase, for instance, is characterized by its organic, interwoven geometric pattern, reminiscent of growth structures found in tree bark and root systems. This unique design is achieved through 3D printing using 100% natural clay. While the interior of the Intertwined vase is hand-glazed, its exterior maintains a matte finish, a consistent characteristic across the entire ceramic collection. This contrast highlights the intricate textures created by the 3D printing process. Another design, 'Bulky,' is offered in three different sizes. This vase features a textile-like pattern that interacts with light throughout the day, creating varying visual effects. The design encourages tactile engagement, inviting individuals to explore its geometric forms and textures through touch. This interactive element adds another dimension to the appreciation of the piece, allowing for a more intimate connection with its design and material. The 'Ripple' vase demonstrates the studio's ability to translate complex mathematical formulae into aesthetically pleasing natural patterns. Its design mimics the visual effect of rippling liquid, such as the concentric circles formed when a stone is dropped into water. This piece exemplifies how technology can be used to replicate and enhance natural phenomena, creating objects that are both visually striking and conceptually rich. The wave-like pattern provides a sense of movement and fluidity, despite the static nature of the ceramic material. The 'Kilim' vase pays homage to the traditional tapestry-weaving methods employed in regions historically part of the Persian Empire. This design represents a contemporary reinterpretation of an ancient craft, demonstrating a harmonious blend of traditional artistry and modern industrial design. By translating the intricate patterns of kilim carpets into a 3D-printed ceramic form, the studio bridges the gap between historical techniques and cutting-edge manufacturing, creating a piece that is culturally resonant and technologically advanced. Finally, the 'Melting' vase directly incorporates its manufacturing process into its aesthetic. The design plays on the suppleness of wet clay during the layering process of 3D printing, creating the illusion of a soft object that appears to be melting. This visual effect is achieved despite the hard, finished ceramic product, creating an intriguing juxtaposition. The Melting vase challenges perceptions of material properties, making a rigid object appear fluid and malleable, highlighting the transformative potential of 3D printing in ceramic art. #3DPrinting #CeramicVases #NatureInspiredDesign #AlgorithmicModeling #SustainableDesign #HomeDecor #ModernCraftsmanship #DragAndDropDesign #InteriorDesign

Pani Jurek's BARVA VASES collection redefines the traditional vase by transforming it into a three-dimensional artistic expression. This collection, rooted in the Polish word "barwa" meaning color, celebrates color not merely as a physical property but as a conduit for subjective emotions, much like a painter's brushstrokes. The vases are characterized by their vibrant color spots, wavy lines, and tactile textures that mimic the direct application of paint. The BARVA VASES distinguish themselves through their innovative design, featuring four distinct flat geometric shapes that allow for endless arrangement possibilities. This modularity empowers users to engage in a creative process, crafting abstract compositions that can evolve based on personal preference or the surrounding environment. The design deliberately merges the structured world of geometric forms with the organic, fluid beauty of botanical elements, creating a harmonious interplay between manufactured design and nature. The collection emphasizes the visual impact of color, offering a limited series that serves as a captivating focal point in any setting. Each vase is conceived as a piece of art in its own right, capable of enhancing a space even without floral arrangements. When grouped, they form dynamic and eye-catching abstract installations, inviting viewers to explore the interplay of shapes and colors. The versatility extends to their display options, as the vases come equipped with designated hangers, enabling them to be mounted on walls. This feature allows for the creation of unique decorative reliefs, transforming a two-dimensional surface into a three-dimensional art display. Magda Jurek, the designer behind Pani Jurek, showcases a philosophy that blurs the lines between functional design and fine art. The BARVA VASES exemplify this approach by being both practical containers for flowers and standalone sculptural pieces. The entire collection reflects a modern aesthetic that values experimentation, personal expression, and the integration of art into daily living spaces. The photographic documentation, primarily by Ernest Winczyk and Macie J Miloch, captures the essence of these vases, highlighting their vibrant colors, intricate textures, and the diverse ways they can be styled and displayed to create visually stimulating environments. #PaniJurek #BARVAVases #GeometricDesign #VibrantColors #HomeDecor #CeramicArt #InteriorDesign #AbstractForms #ModularDesign

London-based designer John Booth has launched his Tributes collection, featuring 10 unique, hand-painted ceramic vases of varying sizes. This collection translates Booth's distinctive colourful and abstract illustrations into three-dimensional forms, marking a continuation of his artistic practice that bridges two- and three-dimensional designs. The name 'Tributes' is derived from Asha's 1990 rave track, 'JJ Tribute,' a personal nod to his brother's musical preferences. Each vase in the collection is meticulously handmade by Booth in his Hackney studio. The process begins with hand-rolling clay slabs, which are then cut into the desired face shapes using a paper template. Following a bisque firing, the abstract facial details, characterized by their vibrant colours, are carefully painted onto the ceramic vessels. A clear glaze is then applied to finish each piece, enhancing the colours and providing a smooth, durable surface. Booth emphasizes that his illustrative drawings are always the foundational step for his designs, influencing both his two-dimensional artworks and his three-dimensional creations. He notes a natural progression in his work from drawing a variety of objects, including sofas, shelving units, and vases, to then exploring the feasibility of bringing these drawn concepts to life. This approach highlights a continuous feedback loop between his drawing practice and his design output. The designer's academic background in fashion print at London's Central Saint Martins has significantly shaped his collage-style aesthetic. His studies involved extensive experimentation with dyeing fabrics and various printing techniques, fostering an appreciation for mixed materials and layered designs. This influence is evident in the textural and visual complexity of the Tributes collection. After graduating from Central Saint Martins in 2009, Booth contributed to academia by teaching at his alma mater and at Westminster. His professional journey includes collaborations with notable fashion brands such as Ashish, John Galliano, Zandra Rhodes, and Christopher Shannon. More recently, he partnered with fashion house Fendi to create hand-drawn accessories and garments, further solidifying his reputation for abstract styles and bold colour palettes. Booth's preference for manual techniques is a defining characteristic of his work; he explicitly states that he does not engage with digital tools in his creative process, underlining his commitment to a handcrafted approach and a deep enjoyment of colour combinations. #HomewareDesign #Ceramics #Vases #JohnBooth #HandmadeDesign #AbstractArt #CollageStyle #LondonDesign #Craftsmanship

Alison Owen, a Brooklyn-based artist, creates ceramics that are characterized by their delicate yet unfussy aesthetic, relaxed yet engaging nature, and colorful yet understated appeal. Her pieces are designed to be displayed as works of art, even when not serving their primary function. Owen's artistic influences are diverse, drawing inspiration from antique art books, ancient Greek vases found at the Met, domestic interior paintings by artists like Morandi and Bonnard, and even the architectural surroundings of her own neighborhood. She also repurposes materials, referring to it as 'cannibalizing' cutups and leftovers from previous projects, demonstrating a sustainable and resourceful approach to her craft. A notable instance of this was her discovery of 1970s home-decorating books, which she later incorporated into her collages. Beyond ceramics, Owen engages in various artistic endeavors, including installations and curatorial projects. She is known for soliciting submissions and collecting fragments from other artists' work, such as studio drop cloths, leftover fabrics, and scraps from student projects, giving these discarded materials a new artistic life. Much of her practice is community-oriented, as evidenced by her 30-day challenges. In these challenges, she sends out prompts, often drawing from oblique strategies or simple phrases, and then catalogues the artistic responses on her blog, effectively creating a digital art exhibition. This approach highlights her belief in the fluid interrelationship between different artistic mediums and how they inform her diverse practices. Recently, Owen embarked on a personal project to create at least one vase a day for an entire year. The rules for this commitment are flexible, allowing her to explore various mediums beyond traditional 3D clay vessels. She creates 2D painted vases, fabric cutouts in the shape of vases, and collages that resemble vases. The core requirement remains that the creation must be a vase. Owen explains that this daily practice serves as a reminder that she does have time for art in her life, despite potential feelings of busyness. She also finds that the imposed constraints often lead to more interesting artistic outcomes. Her vases from the first half of this year-long project are currently being exhibited and are available for purchase at Greenpoint Hill in Brooklyn. Owen plans to continue this daily vase-making project until December 31, and her progress can be followed on her Instagram account. The article highlights Owen's multifaceted approach to art, blending traditional craftsmanship with contemporary, community-focused and mixed-media practices, all while demonstrating a consistent commitment to her artistic vision. #AlisonOwen #CeramicVases #BrooklynArtist #ArtisticInspiration #CommunityArt #DailyArtProject #MixedMedia #HomeDecor #ArtExhibition

The David Gill Gallery is currently hosting an exhibition titled 'Vases and Vessels', showcasing approximately 50 contemporary vases and vessels crafted by both established and emerging glass and ceramics artists. Most of the pieces were specially commissioned for the exhibition within the last six months, offering a fresh and diverse look at the current state of contemporary decorative arts. The exhibition, curated by journalist Gianluca Longo, highlights the evolving role of vases beyond mere functionality, positioning them as sculptural and versatile art forms capable of transforming an interior space. Gianluca Longo, known for his work with *W* and *Cabana* magazines, expresses a long-standing fascination with vases, particularly decorative ones, appreciating their dual capacity for aesthetic appeal and practical use. He notes their sculptural qualities and their ability to adapt significantly depending on the floral arrangements chosen. Longo's curation emphasizes 'craftsmanship and the handmade,' reflecting an instinctive selection process guided by a desire for strong decorative elements and a diversity of artistic styles. The exhibition features a wide array of influences, materials, and styles from various artists across the globe. Among the featured artists are Domitilla Harding, whose translucent glass vessels evoke deep-sea creatures, and Cody Hoyt, known for his intricate geometric vases made from inlaid hand-colored clay. Other notable artists include Kate Malone, Beth Katleman, Tommaso Corvi-Mora, Tancredi di Carcaci, Tino Seubert, Felicity Aylieff, Lena Peters, and Marcantonio Brandolini d’Adda. Longo specifically commissioned several pieces, such as Kate Malone’s ‘Monumental Fennel’, Tino Seubert’s terrazzo ‘Heptagon Rosa Perlino’, and Lena Peter’s ‘Owl’, the latter discovered by Longo at Central Saint Martins’ final degree show. The curator highlights emerging talents like Tancredi di Carcaci, a student from Edinburgh whose work reflects southern European baroque influences. Beth Katleman’s 'Vase with Cherubs' is described as adding a 'cheeky moment' to the exhibition and is expected to be a surprise for many, given her relatively lower recognition in the UK compared to New York. Longo expresses his belief in a growing interest in decorative arts, hoping the exhibition will underscore this trend through the unique vases and vessels on display. Francis Sultana, CEO of David Gill Gallery, prior to the opening, anticipated the exhibition would be a vibrant showcase, given Longo’s particular interest in glass and Venetian majolica vases. Sultana believed the exhibition would bring renewed attention to this ancient art form through the works of highly talented contemporary artists. This exhibition follows Longo’s previous success with ‘Young Bright Things’, an exhibition that spotlighted rising stars in fashion, art, and design. 'Vases and Vessels' is open for public viewing until 5 December at the David Gill Gallery, located at 2-4 King Street, London SW1Y 6QP. #VasesAndVessels #ContemporaryArt #DavidGillGallery #DecorativeArts #GlassDesign #Ceramics #GianlucaLongo #Craftsmanship #LondonExhibition

Sandra Apperloo, a Dutch ceramic artist operating under the name The Pottery Parade, creates distinctive ceramic pieces from her studio in Utrecht, the Netherlands. Her work is characterized by its playful and endearing nature, incorporating quirky faces and various patterns. Apperloo's ceramics are crafted entirely by hand, making each piece unique and imbued with its own personality. The artist has a particular fondness for colors and patterns, with a notable preference for pastel shades. She integrates tiny sculpted eyes and unique painted freckles into her designs. A key aspect of Apperloo's creative process involves continuous experimentation and trying out new techniques, which she views as vital for the evolution of her artistic expression. Apperloo's approach to creation is largely spontaneous, as she typically begins working on a piece without a preconceived plan or design. The shape of the ceramic object is often determined during the making process, as she allows her intuition to guide her in shaping, sculpting, selecting colors, and applying patterns. This method helps her maintain an open-minded perspective and encourages her to explore new artistic possibilities. Her creations are designed to evoke positive emotions in viewers, aiming to bring laughter and inspire daydreaming. Apperloo hopes her work provides a pleasant distraction from daily routines, leaving observers with warm feelings and stimulating their imagination. She finds immense satisfaction in the outcome of her work, particularly when unloading her ceramics from the kiln and observing how each character develops. Currently, Apperloo's product range includes various items such as pots, bud vases, bowls, and dishes, with ongoing exploration into new ideas and forms. She emphasizes that handmade ceramics inherently possess imperfections, which she considers an integral part of their character. This perspective is communicated to potential buyers, advising them to carefully review product descriptions due to the unique nature of each handcrafted item. Her work can be further explored and purchased via her website and Instagram presence. #Ceramics #FloralArt #CeramicArtist #HandmadeDecor #DutchArt #HomeDecor #ArtisanCrafts #UniqueVases #ThePotteryParade

Brussels-based artist Eléonore Joulin transforms everyday foods into a unique collection of ceramic home goods, including lamps and vases. Her work draws inspiration from various edibles, resulting in sculptural pieces that are both artistic and functional. For instance, she crafts a 'Cabbage House' by layering crinkled ceramic cabbage leaves to form a dwelling-like structure, and creates a 'Sausage' lamp by twisting a long ceramic sausage into a sculptural, worm-like form. Many of her creations are equipped with a bulb and cord, converting items like a wedge of blue cheese or a large pickle into functional lighting fixtures, demonstrating a playful approach to design. Joulin's creative process often begins with extensive experimentation with different metallic oxides and chemical compounds to achieve specific textures and colors. She notes that the combination of titanium and iron oxides, for example, produces a range of beige to brown tones, which inspired her exploration of bread-like textures. This meticulous research is crucial to her work, as she is currently focused on developing the perfect glaze to replicate the appearance of a French brioche in her ceramic pieces. Her artistic practice highlights the intersection of culinary aesthetics and ceramic craftsmanship. Beyond the 'Cabbage House' and 'Sausage' lamp, her collection features a 'Leek vase' designed to resemble a sliced leek, and a 'Morbier cheese' lamp that captures the distinctive blue pockets of the cheese. Another notable piece is the 'Big Pickle' lamp, which transforms a common condiment into an oversized, whimsical lighting element. These designs are a testament to Joulin's ability to infuse humor and unexpected beauty into functional household items, challenging conventional notions of art and utility. Eléonore Joulin's work will be featured in a group exhibition at La Corvée in Paris, opening on June 7. Her designs blend art, craft, and functional design, offering a fresh perspective on how everyday objects can be reinterpreted through ceramic artistry. Her approach not only creates visually engaging pieces but also invites viewers to consider the unexpected beauty and utility that can be found in common forms and materials. #ceramics #EleonoreJoulin #food #lamps #light #sculpture #homeDecor #ceramicArt #functionalArt

A new exhibition titled 'Exhibition in Rennes: Ronan & Erwan Bouroullec' showcases the extensive work of French design duo Ronan and Erwan Bouroullec in their home region of Brittany for the first time. The exhibition is split across three venues: Les Champs Libres, the Frac Bretange contemporary art museum, and Le parlement de Bretagne, and is conceptually divided into two main parts. The first part is a 20-year retrospective focusing on the brothers' industrial design projects. This segment features collaborations with prominent design manufacturers such as Alessi, Magis, Kvadrat, Vitra, Artek, and Samsung. Notable inclusions are their furniture and domestic items, alongside an array of archival materials. These materials provide insight into their design process, including development notebooks and scale models, offering a comprehensive look at their evolution in industrial design. One such collaboration highlighted is the 'Serif' TV with Samsung, which received the Wallpaper* award for 'Best Domestic Design'. The second part of the exhibition, titled 'Urban Reveries' and installed at Les Champs Libres, delves into the duo's foray into municipal landscape design. This section presents a collection of dioramic architectural models that envision new public spaces. These models depict unique urban patterns, including rocky outcrops, elevated sculptural streams, and meticulously designed gardens, reflecting what the studio describes as 'a wandering or urban dreaming based on a reflection of the city layout'. The exhibit aims to explore innovative approaches to public urban environments. Further installations include 'Le Kiosque' from 2015, positioned in the parliament courtyard. This modular structure, constructed from powder-coated steel with an oak interior and an overhanging roof, first appeared in Paris' Tuileries. Conceived as a movable tool to integrate art into public spaces, in Rennes, it is paired with 'Palissade', a collection of outdoor furniture developed in collaboration with Hay. The exhibition also features '17 Screens', an abstract display that explores the convergence of 3D printing with traditional production methods. Previously exhibited at the Tel Aviv Museum of Art, this installation showcases futuristic constructions utilizing diverse materials such as glass, ceramic, wood, and aluminium rods. It also incorporates curtains made from cup-like mouldings by ceramics innovator Mutina and patterned textiles. This segment is characterized as an experimental and atmospheric exploration, blurring the lines between design and art. Overall, the exhibition is presented as a carefully curated blend of their established works and new, more experimental directions. It offers an opportunity to re-evaluate the Bouroullecs' classic designs while also providing glimpses into their evolving artistic and design philosophies. The show aims to offer visitors a comprehensive understanding of the duo's influential and multifaceted practice. #BouroullecBrothers #DesignExhibition #IndustrialDesign #UrbanPlanning #ContemporaryArt #FurnitureDesign #ArchitecturalModels #PublicSpaceDesign #3DPrinting #RennesExhibition

Studio E.O founder Erik Olovsson's 'Indefinite Vases' series, launched in 2016, showcases a narrative-driven approach to design, focusing on the interplay between contrasting materials. The project unites fluid, hand-blown glass with robust marble slabs, granite, and onyx, resulting in visually compelling and unique pieces. Olovsson, known for imbuing his projects with a story without adhering to a linear narrative, describes his work as having an unpredictable outcome, which he finds particularly appealing in this series. The creation of the 'Indefinite Vases' involved a collaborative process with local glass artisans in Stockholm, where Olovsson is based. These artisans crafted the spherical glass forms that are designed to interact with and perch upon the carefully selected stone bases. Olovsson deliberately chose five distinct types of marble, granite, and onyx, conspicuously avoiding the common white Carrera marble to introduce more variety and character into the collection. A central theme of the 'Indefinite Vases' is the contrast between the ancient origins of the stone and the freshly blown, malleable glass. This juxtaposition creates a calming visual effect that has resonated with viewers. Olovsson expresses a particular fascination with the geological history embedded within the stone materials, seeing them as timeless elements that beautifully complement the ephemeral quality of glass. The unpredictable nature of how the molten glass settles onto the stone is a key aspect of the design, ensuring that each vase is a one-of-a-kind creation. The enduring appeal and potential for variation suggest that 'Indefinite Vases' is an ongoing project for Studio E.O, with Olovsson envisioning a continuous exploration of these material interactions. The works are made available for purchase through Galerie Kreo, a testament to their artistic and design value. The series challenges traditional notions of a vase, proposing an "indefinite" form that is continually shaped by the unique process of its creation and the inherent characteristics of its components. The designer emphasizes that the journey of creation and the element of surprise in the final form are integral to the identity of the vases, making them more than mere functional objects but rather sculptural expressions of material dialogue. #StudioEO #IndefiniteVases #BlownGlass #MarbleDesign #StoneCraftsmanship #ErikOlovsson #MaterialContrast #InteriorAccessories #SwedishDesign #ArtisanCollaboration

The Poilu Vases represent an innovative venture into material research and 3D printing technology by Paris-based Studio Bold. This project explores the integration of natural fibers into 3D printed structures to create unique textural qualities in decorative objects. The studio's research centered on developing a method to implant what they describe as “hair” into the vases during the additive manufacturing process, aiming to enhance the visual and tactile bulk of the objects. The design philosophy behind the Poilu Vases bridges mathematical logic with natural generative principles. Studio Bold formulated a specialized code that dictates the precise coordinates for the integration of fibrous materials within the 3D printing sequence. This algorithmic approach allowed for a controlled yet organic outcome, resulting in surfaces that mimic the appearance of looped fibers, reminiscent of certain textile textures such as those found in rugs. Crafted from vegetable-based fibers, the vases incorporate materials like bamboo, coconut, and wood. These natural components contribute to the distinctive “hairy” texture and give each vase a unique character. The choice of natural fibers also aligns with contemporary design trends that emphasize sustainability and the incorporation of organic elements into manufactured goods. The collection consists of three distinct vases, each named after a hair color: "Blond," "Brun," and "Roux." This nomenclature further reinforces the concept of implanted "hair" and differentiates the individual pieces within the series. Each vase is produced as part of a limited edition, with specific numbering and artist signatures. This exclusivity positions the Poilu Vases as collectible design pieces rather than mass-produced items. The Poilu Vases are distributed through Aybar Gallery, highlighting their status as art and design objects. The collaboration with a gallery suggests a deliberate effort to present these pieces within a fine art context, appealing to collectors and design enthusiasts interested in the intersection of technology, art, and natural materials. This project showcases the potential of 3D printing to move beyond purely functional applications and into the realm of sculptural and decorative art, pushing the boundaries of what is achievable in contemporary object design through material innovation and advanced manufacturing techniques. #3DPrinting #VaseDesign #StudioBold #MaterialInnovation #HomeDecor #VegetableFibers #LimitedEdition #AybarGallery #ContemporaryDesign