To Barbara Amstutz, accompanying an idea from its conception and first design sketch to the finished metal creation is a source of endless fascination and pleasure. As well as creating artistic metalwork and metalwork for liturgical purposes, Barbara restores antique silver and non-precious metal items. She sees antique pieces as a testimony of past everyday lives, their shapes, stamps, materials, marks and dents telling stories of their past creators, owners and passage through time. Silversmiths were an integral part of European life until the end of the 18th century, as much politically as economically. Barbara draws and transfers her inspiration from this historic craft to the creation of her contemporary silverworks.

Barbara Amstutz’s most important tools are hammers, irons and anvils of various shapes and sizes, plus fire for annealing and soldering silver. Using ancient techniques, she forges, drives and assembles metal.

Barbara Amstutz

Hohestrasse 134 4104 Oberwil
+41 61 301 18 62
info@barbaraamstutz.ch
www.barbaraamstutz.ch

Barbara Amstutz

Hohestrasse 134 4104 Oberwil
+41 61 301 18 62
info@barbaraamstutz.ch
www.barbaraamstutz.ch

Barbara Amstutz’s most important tools are hammers, irons and anvils of various shapes and sizes, plus fire for annealing and soldering silver. Using ancient techniques, she forges, drives and assembles metal.

Barbara Amstutz

From her workshop in Basel, Switzerland, Barbara Amstutz creates silver objects for everyday use and liturgical purposes as well as works of art. These works are created in limited series or as one-off pieces. Barbara uses her knowledge of traditional silversmith techniques to produce innovative contemporary objects and takes great pleasure in pursuing ideas and carrying out elaborate designs. The unlimited malleability of silver as well as the wide variety of options for working with this precious metal fascinate her. As well as creating her own works, Barbara restores, repairs and conserves antique silver and other metal objects.

To Barbara Amstutz, accompanying an idea from its conception and first design sketch to the finished metal creation is a source of endless fascination and pleasure. As well as creating artistic metalwork and metalwork for liturgical purposes, Barbara restores antique silver and non-precious metal items. She sees antique pieces as a testimony of past everyday lives, their shapes, stamps, materials, marks and dents telling stories of their past creators, owners and passage through time. Silversmiths were an integral part of European life until the end of the 18th century, as much politically as economically. Barbara draws and transfers her inspiration from this historic craft to the creation of her contemporary silverworks.

Barbara Amstutz’s most important tools are hammers, irons and anvils of various shapes and sizes, plus fire for annealing and soldering silver. Using ancient techniques, she forges, drives and assembles metal.

Barbara Amstutz

Hohestrasse 134 4104 Oberwil
+41 61 301 18 62
info@barbaraamstutz.ch
www.barbaraamstutz.ch

Barbara Amstutz

Hohestrasse 134 4104 Oberwil
+41 61 301 18 62
info@barbaraamstutz.ch
www.barbaraamstutz.ch

Barbara Amstutz’s most important tools are hammers, irons and anvils of various shapes and sizes, plus fire for annealing and soldering silver. Using ancient techniques, she forges, drives and assembles metal.

Barbara Amstutz

From her workshop in Basel, Switzerland, Barbara Amstutz creates silver objects for everyday use and liturgical purposes as well as works of art. These works are created in limited series or as one-off pieces. Barbara uses her knowledge of traditional silversmith techniques to produce innovative contemporary objects and takes great pleasure in pursuing ideas and carrying out elaborate designs. The unlimited malleability of silver as well as the wide variety of options for working with this precious metal fascinate her. As well as creating her own works, Barbara restores, repairs and conserves antique silver and other metal objects.

To Barbara Amstutz, accompanying an idea from its conception and first design sketch to the finished metal creation is a source of endless fascination and pleasure. As well as creating artistic metalwork and metalwork for liturgical purposes, Barbara restores antique silver and non-precious metal items. She sees antique pieces as a testimony of past everyday lives, their shapes, stamps, materials, marks and dents telling stories of their past creators, owners and passage through time. Silversmiths were an integral part of European life until the end of the 18th century, as much politically as economically. Barbara draws and transfers her inspiration from this historic craft to the creation of her contemporary silverworks.

Barbara Amstutz’s most important tools are hammers, irons and anvils of various shapes and sizes, plus fire for annealing and soldering silver. Using ancient techniques, she forges, drives and assembles metal.

Barbara Amstutz

Hohestrasse 134 4104 Oberwil
+41 61 301 18 62
info@barbaraamstutz.ch
www.barbaraamstutz.ch

Barbara Amstutz

Hohestrasse 134 4104 Oberwil
+41 61 301 18 62
info@barbaraamstutz.ch
www.barbaraamstutz.ch

Barbara Amstutz’s most important tools are hammers, irons and anvils of various shapes and sizes, plus fire for annealing and soldering silver. Using ancient techniques, she forges, drives and assembles metal.

Barbara Amstutz

From her workshop in Basel, Switzerland, Barbara Amstutz creates silver objects for everyday use and liturgical purposes as well as works of art. These works are created in limited series or as one-off pieces. Barbara uses her knowledge of traditional silversmith techniques to produce innovative contemporary objects and takes great pleasure in pursuing ideas and carrying out elaborate designs. The unlimited malleability of silver as well as the wide variety of options for working with this precious metal fascinate her. As well as creating her own works, Barbara restores, repairs and conserves antique silver and other metal objects.

To Barbara Amstutz, accompanying an idea from its conception and first design sketch to the finished metal creation is a source of endless fascination and pleasure. As well as creating artistic metalwork and metalwork for liturgical purposes, Barbara restores antique silver and non-precious metal items. She sees antique pieces as a testimony of past everyday lives, their shapes, stamps, materials, marks and dents telling stories of their past creators, owners and passage through time. Silversmiths were an integral part of European life until the end of the 18th century, as much politically as economically. Barbara draws and transfers her inspiration from this historic craft to the creation of her contemporary silverworks.

Barbara Amstutz’s most important tools are hammers, irons and anvils of various shapes and sizes, plus fire for annealing and soldering silver. Using ancient techniques, she forges, drives and assembles metal.

Barbara Amstutz

Hohestrasse 134 4104 Oberwil
+41 61 301 18 62
info@barbaraamstutz.ch
www.barbaraamstutz.ch

Barbara Amstutz

Hohestrasse 134 4104 Oberwil
+41 61 301 18 62
info@barbaraamstutz.ch
www.barbaraamstutz.ch

Barbara Amstutz’s most important tools are hammers, irons and anvils of various shapes and sizes, plus fire for annealing and soldering silver. Using ancient techniques, she forges, drives and assembles metal.

Barbara Amstutz

From her workshop in Basel, Switzerland, Barbara Amstutz creates silver objects for everyday use and liturgical purposes as well as works of art. These works are created in limited series or as one-off pieces. Barbara uses her knowledge of traditional silversmith techniques to produce innovative contemporary objects and takes great pleasure in pursuing ideas and carrying out elaborate designs. The unlimited malleability of silver as well as the wide variety of options for working with this precious metal fascinate her. As well as creating her own works, Barbara restores, repairs and conserves antique silver and other metal objects.

Challenging the established boundaries of functional silverware and silver-smithing techniques, Cara Murphy’s works address the concept of a silver landscape. Her works have a sculptural presence and interact with the table they are placed on, metaphorically “growing” from it. Through her sculptural silver forms, Cara aims to challenge our traditional view of this medium by not only creating functional works but also by creating works with which the viewer can interact. Working with a variety of materials, Cara investigates organic forms. Within the context of the dining table, her work aims to create a focus for the table that interacts with objects. The viewer therefore interacts with the piece and the piece with the viewer.

Basse taille involves layers of vitreous enamel being applied wet onto the silver with a quill and fired in a kiln.

Cara Murphy

Blessington House, 18 Ballynahinch Street, BT26 6AW Hillsborough
+ 44 7811 958807
cara@caramurphy.com
www.caramurphy.com

Cara Murphy

Blessington House, 18 Ballynahinch Street, BT26 6AW Hillsborough
+ 44 7811 958807
cara@caramurphy.com
www.caramurphy.com

Basse taille involves layers of vitreous enamel being applied wet onto the silver with a quill and fired in a kiln.

Cara Murphy

Cara Murphy is a contemporary silversmith based in Northern Ireland. Trained at the Glasgow School of Art and the Royal College of Art, London, she applies traditional silversmith techniques to create innovative, functional and sculptural silver tableware. Cara takes her inspiration from the natural environment, creating silver landscapes for the dining table that metaphorically 'grow' from it. Her award-winning silverware has been exhibited in numerous applied art and silversmithing exhibitions, and her work is represented in many international collections.

After years of experimenting with different types of woods, Ernst Gamperl turned to exclusively turning “wet wood”, freshly cut wood that has not been dried. While his early works display highly precise craftsmanship, his later works have gone down an increasingly minimalistic path, bringing out old forms and surfaces that reveal the beauty of the wood. Ernst’s works do not simply start on the lathe, they are the result of more than twenty years of experimentation, toiling and studying wood, its drying properties and this impact on the final sculpture. He knows that this is a mutual dialogue and he cannot force a shape onto the material. This insight is a challenge that drives him further through this medium and work.

A lathe quickly rotates a piece of wood. The form and texture is cut by hand with special turning tools, partly manufactured by the artist himself.

Ulrike Spengler

+49 8862 93 28 800
info@ernst-gamperl.de
www.ernst-gamperl.de

Ulrike Spengler

+49 8862 93 28 800
info@ernst-gamperl.de
www.ernst-gamperl.de

A lathe quickly rotates a piece of wood. The form and texture is cut by hand with special turning tools, partly manufactured by the artist himself.

Ernst Gamperl

Originally trained as a cabinetmaker, Munich born Ernst Gamperl stumbled on woodturning by chance. Equipped with a book on woodturning he starting training in this craft as an autodidact, unhampered by convention in his approach to turnery. After a few years, by means of patience, exercise and research, he perfected this technique and established his first workshop in 1990. Although Ernst used to prefer working with precious, exotic woods, he has since come to focus on working with European wood varieties like maple, beech, Italian olive tree and principally oak. After three years, he entered the design school in Hildesheim, Germany, and was awarded the title "Meister"(Master). Ernst exhibits his work extensively throughout Europe and internationally. His objects have earned him numerous prizes and are found in museum and private collections worldwide.

Geir Nustad sees his works as reflections, objects that depict change over time. His main source of inspiration comes from nature in Norway and the mountains around Tromsø with their extreme elements that reflect the difference between winter and summer, dark and light. The thinking behind his “Waves” series is to explore form, patterns and colours and challenge the technical and aesthetic possibilities of glass. “Waves” focuses on the strong contrast between the exterior and interior, the dark and the colourful, exploring the limits of what is possible within the material of glass, creating a floating bridge between art, craft and design.

Freehand blown glass in filigree with a heat treatment to change the exterior expression of the glass.

Geir Nustad

geir.nustad@gmail.com
geirnustad.com

Geir Nustad

geir.nustad@gmail.com
geirnustad.com

Freehand blown glass in filigree with a heat treatment to change the exterior expression of the glass.

Geir Nustad

Geir Nustad was born in Tromsø, in the north of Norway. He moved to Kosta, Sweden in 2006 to begin his studies to become a glassblower at the Kosta Glascenter (Kosta Boda) where he was taught the famous Grail technique and from which he graduated in 2009. He continued actively to search for his own expression with glass and the same year Geir started to study in the Glass Department at the Gerrit Rietveld Academie in Amsterdam, Netherlands, and graduated in 2012. He now works from Amsterdam. Through his works, Geir intends to create a bridge between craft, design and fine arts in order to create a deeper connection between the object or sculpture and the spectator. His artistic practice stretches from drawing and painting to creation of objects, sculptures and installations, mainly made of glass.

Geir Nustad sees his works as reflections, objects that depict change over time. His main source of inspiration comes from nature in Norway and the mountains around Tromsø with their extreme elements that reflect the difference between winter and summer, dark and light. The thinking behind his “Waves” series is to explore form, patterns and colours and challenge the technical and aesthetic possibilities of glass. “Waves” focuses on the strong contrast between the exterior and interior, the dark and the colourful, exploring the limits of what is possible within the material of glass, creating a floating bridge between art, craft and design.

Freehand blown glass in filigree with a heat treatment to change the exterior expression of the glass.

Geir Nustad

geir.nustad@gmail.com
geirnustad.com

Geir Nustad

geir.nustad@gmail.com
geirnustad.com

Freehand blown glass in filigree with a heat treatment to change the exterior expression of the glass.

Geir Nustad

Geir Nustad was born in Tromsø, in the north of Norway. He moved to Kosta, Sweden in 2006 to begin his studies to become a glassblower at the Kosta Glascenter (Kosta Boda) where he was taught the famous Grail technique and from which he graduated in 2009. He continued actively to search for his own expression with glass and the same year Geir started to study in the Glass Department at the Gerrit Rietveld Academie in Amsterdam, Netherlands, and graduated in 2012. He now works from Amsterdam. Through his works, Geir intends to create a bridge between craft, design and fine arts in order to create a deeper connection between the object or sculpture and the spectator. His artistic practice stretches from drawing and painting to creation of objects, sculptures and installations, mainly made of glass.

Thanks to her past studies in botany and her “golden-hands”, Lilla Tabasso’s works revert back to the “still life” genre, and give shape to an iper-verismo (hyper-realism) and an extreme naturalism. By placing itself on a scale of micro-detail within the forms and colours of every flower, this research analyses with lucidity and detachment how the expressive potentialities of nature exceed those of humankind.

Lampworked glass using rods of Murano glass. A torch or lamp is primarily used to melt the glass. Once in a molten state the glass can be shaped through movement or through blowing.

Lilla Tabasso

via D.Cimarosa 10 20144 Milan
+39 3334963696
lillatabasso1@hotmail.it

Lilla Tabasso

via D.Cimarosa 10 20144 Milan
+39 3334963696
lillatabasso1@hotmail.it

Lampworked glass using rods of Murano glass. A torch or lamp is primarily used to melt the glass. Once in a molten state the glass can be shaped through movement or through blowing.

Lilla Tabasso

Lilla Tabasso was born in Milan in 1973, the city where she now lives and works. Following her studies at the Faculty of Biology at the University in Milan, she began working with Murano glass using the ancient techniques of blowing and modelling. Her initial studies in biology are a key component to her research, which focuses on botany. Her still life works of incredible realism depict vases with flowers and draw from the infinite palette of nature’s colours and translucency. Fundamental to Lilla’s depiction are shades, mutations and imperfections: dry branches, faded flowers and wilting leaves. By focusing in such micro-detail on the forms and colours of every flower, Lilla’s works analyse how the expressive potential of nature exceeds that of mankind.

Thanks to her past studies in botany and her “golden-hands”, Lilla Tabasso’s works revert back to the “still life” genre, and give shape to an iper-verismo (hyper-realism) and an extreme naturalism. By placing itself on a scale of micro-detail within the forms and colours of every flower, this research analyses with lucidity and detachment how the expressive potentialities of nature exceed those of humankind.

Lampworked glass using rods of Murano glass. A torch or lamp is primarily used to melt the glass. Once in a molten state the glass can be shaped through movement or through blowing.

Lilla Tabasso

via D.Cimarosa 10 20144 Milan
+39 3334963696
lillatabasso1@hotmail.it

Lilla Tabasso

via D.Cimarosa 10 20144 Milan
+39 3334963696
lillatabasso1@hotmail.it

Lampworked glass using rods of Murano glass. A torch or lamp is primarily used to melt the glass. Once in a molten state the glass can be shaped through movement or through blowing.

Lilla Tabasso

Lilla Tabasso was born in Milan in 1973, the city where she now lives and works. Following her studies at the Faculty of Biology at the University in Milan, she began working with Murano glass using the ancient techniques of blowing and modelling. Her initial studies in biology are a key component to her research, which focuses on botany. Her still life works of incredible realism depict vases with flowers and draw from the infinite palette of nature’s colours and translucency. Fundamental to Lilla’s depiction are shades, mutations and imperfections: dry branches, faded flowers and wilting leaves. By focusing in such micro-detail on the forms and colours of every flower, Lilla’s works analyse how the expressive potential of nature exceeds that of mankind.

Thanks to her past studies in botany and her “golden-hands”, Lilla Tabasso’s works revert back to the “still life” genre and give shape to an iper-verismo (hyper-realism) and an extreme naturalism. By placing itself on a scale of micro-detail within the forms and colours of every flower, this research analyses with lucidity and detachment how the expressive potentialities of nature exceed those of humankind.

Lampworked glass using rods of Murano glass. A torch or lamp is primarily used to melt the glass. Once in a molten state the glass can be shaped through movement or through blowing.

Lilla Tabasso

via D.Cimarosa 10 20144 Milan
+39 3334963696
lillatabasso1@hotmail.it

Lilla Tabasso

via D.Cimarosa 10 20144 Milan
+39 3334963696
lillatabasso1@hotmail.it

Lampworked glass using rods of Murano glass. A torch or lamp is primarily used to melt the glass. Once in a molten state the glass can be shaped through movement or through blowing.

Lilla Tabasso

Lilla Tabasso was born in Milan in 1973, the city where she now lives and works. Following her studies at the Faculty of Biology at the University in Milan, she began working with Murano glass using the ancient techniques of blowing and modelling. Her initial studies in biology are a key component to her research, which focuses on botany. Her still life works of incredible realism depict vases with flowers and draw from the infinite palette of nature’s colours and translucency. Fundamental to Lilla’s depiction are shades, mutations and imperfections: dry branches, faded flowers and wilting leaves. By focusing in such micro-detail on the forms and colours of every flower, Lilla’s works analyse how the expressive potential of nature exceeds that of mankind.

Thanks to her past studies in botany and her “golden hands”, Lilla Tabasso’s works revert back to the still life genre and give shape to an iper-verismo (hyper-realism) and an extreme naturalism. By placing itself on a scale of micro-detail within the forms and colours of every flower, this research analyses with lucidity and detachment how the expressive potentialities of nature exceed those of humankind.

Lampworked glass using rods of Murano glass. A torch or lamp is primarily used to melt the glass. Once in a molten state the glass can be shaped through movement or through blowing.

Lilla Tabasso

via D.Cimarosa 10 20144 Milan
+39 3334963696
lillatabasso1@hotmail.it

Lilla Tabasso

via D.Cimarosa 10 20144 Milan
+39 3334963696
lillatabasso1@hotmail.it

Lampworked glass using rods of Murano glass. A torch or lamp is primarily used to melt the glass. Once in a molten state the glass can be shaped through movement or through blowing.

Lilla Tabasso

Lilla Tabasso was born in Milan in 1973, the city where she now lives and works. Following her studies at the Faculty of Biology at the University in Milan, she began working with Murano glass using the ancient techniques of blowing and modelling. Her initial studies in biology are a key component to her research, which focuses on botany. Her still life works of incredible realism depict vases with flowers and draw from the infinite palette of nature’s colours and translucency. Fundamental to Lilla’s depiction are shades, mutations and imperfections: dry branches, faded flowers and wilting leaves. By focusing in such micro-detail on the forms and colours of every flower, Lilla’s works analyse how the expressive potential of nature exceeds that of mankind.

Through his sculptural works, Nicholas Lees interrogates the relationship between what is solid and material and what is mystical and ephemeral. His works explore uncertainties, objects that are contained within boundaries or across thresholds. This uncertainty is at the core of his research. How can he create a physical and special representation of a blurred and uncertain edge, the penumbra, half-light, of material? Within this body of work, edges can be seen and felt through cast shadows. The presence of the object on the surface floats and shifts according to perception.

The objects are made from parian porcelain, first thrown on the wheel as thick walled vessels and then turned on a lathe. They are intensively hand crafted, before being carefully slow dried. Firing changes the morphology of the unfired shape, creating movement. Controlled imperfections arise through the action of heat.

Nicholas Lees Studio

The Plestor GU34 3JQ Selborne
+44 7875 704490
nicholas.lees@network.rca.ac.uk
www.nicholaslees.com

Nicholas Lees Studio

The Plestor GU34 3JQ Selborne
+44 7875 704490
nicholas.lees@network.rca.ac.uk
www.nicholaslees.com

The objects are made from parian porcelain, first thrown on the wheel as thick walled vessels and then turned on a lathe. They are intensively hand crafted, before being carefully slow dried. Firing changes the morphology of the unfired shape, creating movement. Controlled imperfections arise through the action of heat.

Nicholas Lees

Nicholas Lees’ materials for sculpture are porcelain, space and light. While Nicholas first studied English and History at the University of Kent, his interest quickly turned to ceramics and he undertook a second BA in Ceramics at Bristol Polytechnic and an MA in Ceramics at the University of Wales Institute, Cardiff. His works question the physical elements in the relationship between the object and the body of the viewer, which deal directly with perceptual phenomena. What is seen and understood of solidity and materials shifts according to the relationship between the object, space, light and the eye of the viewer. The presence of the object on the surface floats and shifts according to perception. Nicholas’ work can be found in several international museum collections.

Precious pieces created by Pestelli Creazioni reflect styles and atmospheres from the past and combine classical silverwork with contemporary designs. The workshop's creations are entirely made by hand. The design and the technical execution of these detailed pieces are the result of Tommaso Pestelli’s early encounter with classical silver and gold work in the family workshop. He grew up surrounded by beautiful and elegant objects as well as drawings of jewellery samples that reflected refined tastes of bygone times. Tommaso fell in love with this world, its techniques and designs, adding to them with his own acquired style as time passed. Tommaso has been joined in his studio and in his pursuit of beauty by Eva Aulmann, a graphic artist with innovative and inspirational ideas, who is also his wife.

Pestelli Creazioni was established in Florence in 1908 by Edoardo Pestelli, who had previously worked for the jewellers Marchesini. This experience helped establish the new workshop, which became an immediate success with international nobility and affluent people. The Pestelli legacy has been passed down from father to son, and is now in the hands of his great-grandson, Tommaso Pestelli , and his wife Eva. Some of the Pestelli family’s creations are exhibited in the permanent collection of the Contemporary Jewellery collection in the Museo degli Argenti (Silver Museum), in Florence. In 2011, the Pestelli company was added to the Italian Historical Businesses Register.

Cocco Pesce was assembled using chiselled and engraved silver as well as the cire-perdu technique of casting.

Pestelli Creazioni was established in Florence in 1908 by Edoardo Pestelli, who had previously worked for the jewellers Marchesini. This experience helped establish the new workshop, which became an immediate success with international nobility and affluent people. The Pestelli legacy has been passed down from father to son, and is now in the hands of his great-grandson, Tommaso Pestelli , and his wife Eva. Some of the Pestelli family’s creations are exhibited in the permanent collection of the Contemporary Jewellery collection in the Museo degli Argenti (Silver Museum), in Florence. In 2011, the Pestelli company was added to the Italian Historical Businesses Register.

Tommaso Pestelli

Via Borgo SS. Apostoli, 20/r 50123 Florence
+39 552302488
info@pestelli.com
www.pestelli.com

Tommaso Pestelli

Via Borgo SS. Apostoli, 20/r 50123 Florence
+39 552302488
info@pestelli.com
www.pestelli.com

Cocco Pesce was assembled using chiselled and engraved silver as well as the cire-perdu technique of casting.

Tommaso Pestelli

Tommaso Pestelli’s career began in the family workshop. Here he absorbed knowledge though observation. Tommaso continued to work on the traditional artisanship he had learnt alongside masters of the trade when undertaking studies at the Florentine Academy of Fine Arts and at the "Opificio delle Pietre Dure". Here he qualified as a restorer in glyptic and goldsmith's art. Today, using traditional techniques and technical expertise, combined with originality and creativity, Tommaso and his wife Eva create fine jewellery, collectibles and home accessories made of gold, silver and semi-precious stones, inspired by the sense of style and atmosphere of the past. Some of Tommaso's jewellery is on display in the permanent collection at the Museo degli Argenti in Florence, at the Uffizi Gallery and international galleries.

Precious pieces created by Pestelli Creazioni reflect styles and atmospheres from the past and combine classical silverwork with contemporary designs. The workshop's creations are entirely made by hand. The design and the technical execution of these detailed pieces are the result of Tommaso Pestelli’s early encounter with classical silver and gold work in the family workshop. He grew up surrounded by beautiful and elegant objects as well as drawings of jewellery samples that reflected refined tastes of bygone times. Tommaso fell in love with this world, its techniques and designs, adding to them with his own acquired style as time passed. Tommaso has been joined in his studio and in his pursuit of beauty by Eva Aulmann, a graphic artist with innovative and inspirational ideas, who is also his wife.

Pestelli Creazioni was established in Florence in 1908 by Edoardo Pestelli, who had previously worked for the jewellers Marchesini. This experience helped establish the new workshop, which became an immediate success with international nobility and affluent people. The Pestelli legacy has been passed down from father to son, and is now in the hands of his great-grandson, Tommaso Pestelli , and his wife Eva. Some of the Pestelli family’s creations are exhibited in the permanent collection of the Contemporary Jewellery collection in the Museo degli Argenti (Silver Museum), in Florence. In 2011, the Pestelli company was added to the Italian Historical Businesses Register.

This piece was assembled using chiselled and engraved silver as well as the cire-perdu technique of casting.

Pestelli Creazioni was established in Florence in 1908 by Edoardo Pestelli, who had previously worked for the jewellers Marchesini. This experience helped establish the new workshop, which became an immediate success with international nobility and affluent people. The Pestelli legacy has been passed down from father to son, and is now in the hands of his great-grandson, Tommaso Pestelli , and his wife Eva. Some of the Pestelli family’s creations are exhibited in the permanent collection of the Contemporary Jewellery collection in the Museo degli Argenti (Silver Museum), in Florence. In 2011, the Pestelli company was added to the Italian Historical Businesses Register.

Tommaso Pestelli

Via Borgo SS. Apostoli, 20/r 50123 Florence
+39 552302488
info@pestelli.com
www.pestelli.com

Tommaso Pestelli

Via Borgo SS. Apostoli, 20/r 50123 Florence
+39 552302488
info@pestelli.com
www.pestelli.com

This piece was assembled using chiselled and engraved silver as well as the cire-perdu technique of casting.

Tommaso Pestelli

Tommaso Pestelli’s career began in the family workshop. Here he absorbed knowledge though observation. Tommaso continued to work on the traditional artisanship he had learnt alongside masters of the trade when undertaking studies at the Florentine Academy of Fine Arts and at the "Opificio delle Pietre Dure". Here he qualified as a restorer in glyptic and goldsmith's art. Today, using traditional techniques and technical expertise, combined with originality and creativity, Tommaso and his wife Eva create fine jewellery, collectibles and home accessories made of gold, silver and semi-precious stones, inspired by the sense of style and atmosphere of the past. Some of Tommaso's jewellery is on display in the permanent collection at the Museo degli Argenti in Florence, at the Uffizi Gallery and international galleries.

Laura Hart extends her knowledge and skills of 3D modelling to mould designs for glasswork. Laura’s work revolves around the conservation of endangered flora and fauna. Through her fine glass creations, Laura has developed a unique style of delicate naturalism, celebrating the sublime architecture of nature, while emphasising the fragility of each species. Her collections of fused and kiln formed glass orchids as well as wild flowers are strongly influenced by Georgia O’Keefe’s large-scale flower paintings.

Kiln formed glass techniques use high temperatures in a kiln to shape glass. Laura Hart specialises in fused glass where in a basic fusing process, the object will start as multiple pieces of glass heated enough that they bond together. To capture the delicate detail of each orchid, these pieces are subjected to numerous firings to incorporate many hand cut fragments of glass.

Vessel Gallery

114 Kensington Park Road W11 2PW London
+44 207 727 8001
info@vesselgallery.com
hartglass.com

Vessel Gallery

114 Kensington Park Road W11 2PW London
+44 207 727 8001
info@vesselgallery.com
hartglass.com

Kiln formed glass techniques use high temperatures in a kiln to shape glass. Laura Hart specialises in fused glass where in a basic fusing process, the object will start as multiple pieces of glass heated enough that they bond together. To capture the delicate detail of each orchid, these pieces are subjected to numerous firings to incorporate many hand cut fragments of glass.

Laura Hart

Suffolk glass artist Laura Hart creates fine art glass sculpture and functional glass tableware from her studio in rural Cavendish. She specialises in fused and kiln formed glass orchids, glass wild flowers and meticulously detailed fused and cast glass butterflies. Laura’s work brings several traditional glass-making techniques together with the addition of sterling silver for anatomical detail. She specialises in fused glass production uniting 21st century 3D design applications with age-old traditional glass making techniques. From her well-equipped studio in Cavendish near Sudbury in Suffolk, Laura holds monthly two-day glass fusing workshops. The classes are open to all levels of experience from absolute beginners to veteran glass fusing fanatics.

Laura Hart extends her knowledge and skills of 3D modelling to mould designs for glasswork. Laura’s work revolves around the conservation of endangered flora and fauna. Through her fine glass creations, Laura has developed a unique style of delicate naturalism, celebrating the sublime architecture of nature, while emphasising the fragility of each species. Her collections of fused and kiln formed glass orchids as well as wild flowers are strongly influenced by Georgia O’Keefe’s large-scale flower paintings.

Kiln formed glass techniques use high temperatures in a kiln to shape glass. Laura Hart specialises in fused glass where in a basic fusing process, the object will start as multiple pieces of glass heated enough that they bond together. To capture the delicate detail of each orchid, these pieces are subjected to numerous firings to incorporate many hand cut fragments of glass.

Vessel Gallery

114 Kensington Park Road W11 2PW London
+44 207 727 8001
info@vesselgallery.com
hartglass.com

Vessel Gallery

114 Kensington Park Road W11 2PW London
+44 207 727 8001
info@vesselgallery.com
hartglass.com

Kiln formed glass techniques use high temperatures in a kiln to shape glass. Laura Hart specialises in fused glass where in a basic fusing process, the object will start as multiple pieces of glass heated enough that they bond together. To capture the delicate detail of each orchid, these pieces are subjected to numerous firings to incorporate many hand cut fragments of glass.

Laura Hart

Suffolk glass artist Laura Hart creates fine art glass sculpture and functional glass tableware from her studio in rural Cavendish. She specialises in fused and kiln formed glass orchids, glass wild flowers and meticulously detailed fused and cast glass butterflies. Laura’s work brings several traditional glass-making techniques together with the addition of sterling silver for anatomical detail. She specialises in fused glass production uniting 21st century 3D design applications with age-old traditional glass making techniques. From her well-equipped studio in Cavendish near Sudbury in Suffolk, Laura holds monthly two-day glass fusing workshops. The classes are open to all levels of experience from absolute beginners to veteran glass fusing fanatics.

Faenza was one of the central hubs of ceramics during the late Middle Ages, with ceramists of that time attempting to imitate the porcelain and painted ceramics imported from Asia and the Middle East. During the 16th century Faenza defined its own ceramic style by melding together Byzantine, Roman, Eastern and Islamic cultural elements. The decorative research that the Bottega Vignoli likes to call “Mediterranean” results from this tradition. In a similar manner to the 16th century, the clay used in the Bottega is extracted in lumps from the “calanchi” (badlands) and left outside to be exposed to the rain and cold in order to wash away the impurities. After being washed of organic residues the clay is chopped and bought back to the studio where it is shaped on a potter’s wheel.

Ivana and Saura Vignoli opened Bottega Vignoli in 1976, following the historic tradition of the craft that has long been practised in the region of Faenza. The sisters combine rich traditions and training with contemporary innovations. Their research begins with the Renaissance tradition of majolica of Faenza. Spanish-Moorish, Roman, Byzantine and Islamic stylistic influences can be found separately or combined throughout their work. While some works clearly reflect the rich cultural tradition of the Mediterranean, others diverge from this, producing truly original and innovative pieces. The outcome of ceramics production is often unique but Ivana and Saura do not only aim to create exclusive works. They also dedicate themselves to large-scale homogenous series for clients with whom they work on a regular basis.

Shaped on a potter’s wheel, the pottery is fired in a kiln at 960°C producing red iron-oxide terracotta. A white surface is then created using a glass-based coating. Powdered metal oxides are then used to decorate the surface. Finally, the ceramic is re-fired at 920°C.

Ivana and Saura Vignoli opened Bottega Vignoli in 1976, following the historic tradition of the craft that has long been practised in the region of Faenza. The sisters combine rich traditions and training with contemporary innovations. Their research begins with the Renaissance tradition of majolica of Faenza. Spanish-Moorish, Roman, Byzantine and Islamic stylistic influences can be found separately or combined throughout their work. While some works clearly reflect the rich cultural tradition of the Mediterranean, others diverge from this, producing truly original and innovative pieces. The outcome of ceramics production is often unique but Ivana and Saura do not only aim to create exclusive works. They also dedicate themselves to large-scale homogenous series for clients with whom they work on a regular basis.

Bottega Vignoli - Laboratory & Showroom

Via Fermi, 30, 48018 Faenza RA
+39 0546 621076
info@ceramichevignoli.com
www.ceramichevignoli.com

Bottega Vignoli - Laboratory & Showroom

Via Fermi, 30, 48018 Faenza RA
+39 0546 621076
info@ceramichevignoli.com
www.ceramichevignoli.com

Shaped on a potter’s wheel, the pottery is fired in a kiln at 960°C producing red iron-oxide terracotta. A white surface is then created using a glass-based coating. Powdered metal oxides are then used to decorate the surface. Finally, the ceramic is re-fired at 920°C.

Saura Vignoli

Ivana and Saura Vignoli are sisters. They both graduated from the Ballardini Art School of Ceramics before opening their own workshop together in 1976, in Faenza. The sisters have regularly participated in international and national exhibitions and competitions.

Faenza was one of the central hubs of ceramics during the late Middle Ages, with ceramists of that time attempting to imitate the porcelain and painted ceramics imported from Asia and the Middle East. During the 16th century Faenza defined its own ceramic style by melding together Byzantine, Roman, Eastern and Islamic cultural elements. The decorative research that the Bottega Vignoli likes to call “Mediterranean” results from this tradition. In a similar manner to the 16th century, the clay used in the Bottega is extracted in lumps from the “calanchi” (badlands) and left outside to be exposed to the rain and cold in order to wash away the impurities. After being washed of organic residues the clay is chopped and bought back to the studio where it is shaped on a potter’s wheel.

Ivana and Saura Vignoli opened Bottega Vignoli in 1976, following the historic tradition of the craft that has long been practised in the region of Faenza. The sisters combine rich traditions and training with contemporary innovations. Their research begins with the Renaissance tradition of majolica of Faenza. Spanish-Moorish, Roman, Byzantine and Islamic stylistic influences can be found separately or combined throughout their work. While some works clearly reflect the rich cultural tradition of the Mediterranean, others diverge from this, producing truly original and innovative pieces. The outcome of ceramics production is often unique but Ivana and Saura do not only aim to create exclusive works. They also dedicate themselves to large-scale homogenous series for clients with whom they work on a regular basis.

Shaped on a potter’s wheel, the pottery is fired in a kiln at 960°C producing red iron-oxide terracotta. A white surface is then created using a glass-based coating. Powdered metal oxides are then used to decorate the surface. Finally, the ceramic is re-fired at 920°C.

Ivana and Saura Vignoli opened Bottega Vignoli in 1976, following the historic tradition of the craft that has long been practised in the region of Faenza. The sisters combine rich traditions and training with contemporary innovations. Their research begins with the Renaissance tradition of majolica of Faenza. Spanish-Moorish, Roman, Byzantine and Islamic stylistic influences can be found separately or combined throughout their work. While some works clearly reflect the rich cultural tradition of the Mediterranean, others diverge from this, producing truly original and innovative pieces. The outcome of ceramics production is often unique but Ivana and Saura do not only aim to create exclusive works. They also dedicate themselves to large-scale homogenous series for clients with whom they work on a regular basis.

Bottega Vignoli - Laboratory & Showroom

Via Fermi, 30, 48018 Faenza RA
+39 0546 621076
info@ceramichevignoli.com
www.ceramichevignoli.com

Bottega Vignoli - Laboratory & Showroom

Via Fermi, 30, 48018 Faenza RA
+39 0546 621076
info@ceramichevignoli.com
www.ceramichevignoli.com

Shaped on a potter’s wheel, the pottery is fired in a kiln at 960°C producing red iron-oxide terracotta. A white surface is then created using a glass-based coating. Powdered metal oxides are then used to decorate the surface. Finally, the ceramic is re-fired at 920°C.

Saura Vignoli

Ivana and Saura Vignoli are sisters. They both graduated from the Ballardini Art School of Ceramics before opening their own workshop together in 1976, in Faenza. The sisters have regularly participated in international and national exhibitions and competitions.

Faenza was one of the central hubs of ceramics during the late Middle Ages, with ceramists of that time attempting to imitate the porcelain and painted ceramics imported from Asia and the Middle East. During the 16th century Faenza defined its own ceramic style by melding together Byzantine, Roman, Eastern and Islamic cultural elements. The decorative research that the Bottega Vignoli likes to call “Mediterranean” results from this tradition. In a similar manner to the 16th century, the clay used in the Bottega is extracted in lumps from the “calanchi” (badlands) and left outside to be exposed to the rain and cold in order to wash away the impurities. After being washed of organic residues the clay is chopped and bought back to the studio where it is shaped on a potter’s wheel.

Ivana and Saura Vignoli opened Bottega Vignoli in 1976, following the historic tradition of the craft that has long been practised in the region of Faenza. The sisters combine rich traditions and training with contemporary innovations. Their research begins with the Renaissance tradition of majolica of Faenza. Spanish-Moorish, Roman, Byzantine and Islamic stylistic influences can be found separately or combined throughout their work. While some works clearly reflect the rich cultural tradition of the Mediterranean, others diverge from this, producing truly original and innovative pieces. The outcome of ceramics production is often unique but Ivana and Saura do not only aim to create exclusive works. They also dedicate themselves to large-scale homogenous series for clients with whom they work on a regular basis.

Shaped on a potter’s wheel, the pottery is fired in a kiln at 960°C producing red iron-oxide terracotta. A white surface is then created using a glass-based coating. Powdered metal oxides are then used to decorate the surface. Finally, the ceramic is re-fired at 920°C.

Ivana and Saura Vignoli opened Bottega Vignoli in 1976, following the historic tradition of the craft that has long been practised in the region of Faenza. The sisters combine rich traditions and training with contemporary innovations. Their research begins with the Renaissance tradition of majolica of Faenza. Spanish-Moorish, Roman, Byzantine and Islamic stylistic influences can be found separately or combined throughout their work. While some works clearly reflect the rich cultural tradition of the Mediterranean, others diverge from this, producing truly original and innovative pieces. The outcome of ceramics production is often unique but Ivana and Saura do not only aim to create exclusive works. They also dedicate themselves to large-scale homogenous series for clients with whom they work on a regular basis.

Bottega Vignoli - Laboratory & Showroom

Via Fermi, 30, 48018 Faenza RA
+39 0546 621076
info@ceramichevignoli.com
www.ceramichevignoli.com

Bottega Vignoli - Laboratory & Showroom

Via Fermi, 30, 48018 Faenza RA
+39 0546 621076
info@ceramichevignoli.com
www.ceramichevignoli.com

Shaped on a potter’s wheel, the pottery is fired in a kiln at 960°C producing red iron-oxide terracotta. A white surface is then created using a glass-based coating. Powdered metal oxides are then used to decorate the surface. Finally, the ceramic is re-fired at 920°C.

Ivana Vignoli

Ivana and Saura Vignoli are sisters. They both graduated from the Ballardini Art School of Ceramics before opening their own workshop together in 1976, in Faenza. The sisters have regularly participated in international and national exhibitions and competitions.

Vessels and containers are an innate method of communication. They convey a story of gathering, holding and storing. Not only do they surround us in our daily lives, they shape our perception of the division between inside and out and the notion of moving from one framed space into another. The practice of making vessels enables Adi Toch to work with both metal and space as materials, thereby redefining these borders. Through texturing, mark making, colouring and patination Adi creates a unique visual language with metal. She explores the morphological qualities of vessels and the process of embedding objects from the domestic landscape with spirit. Her work communicates through its sensory qualities and invites the observer to pick it up or look closely before revealing its story.

Beginning with a flat sheet, Adi Toch forms the metal into hollow forms using hammers and tools. She creates unique surfaces through texturing, mark making, colouring and patination.

Adi Toch

+44 7972 872769
hello@aditoch.com
aditoch.com

Adi Toch

+44 7972 872769
hello@aditoch.com
aditoch.com

Beginning with a flat sheet, Adi Toch forms the metal into hollow forms using hammers and tools. She creates unique surfaces through texturing, mark making, colouring and patination.

Adi Toch

Adi Toch explores the visual language of metal through colour, movement, sound and tactility. She creates engaging objects that investigate the embodiment of vessels and containers. Her work begins with a flat sheet of metal and is entirely shaped by hand by means of tools such as hammers. Her work communicates through its sensory qualities and invites the observer to pick it up or look closely before revealing its story. Adi graduated from The Cass, London in 2009 with a Masters in Art, Design & Visual Culture, following her BA from Bezalel Art Academy in Jerusalem, metalwork department. Her work is exhibited internationally and included in major public collections such as the V&A Museum, London, Fitzwilliam Museum, Cambridge, National Museums Scotland, National Museum of Wales and The Jewish Museum, New York.

Vessels and containers are an innate method of communication. They convey a story of gathering, holding and storing. Not only do they surround us in our daily lives, they shape our perception of the division between inside and out and the notion of moving from one framed space into another. The practice of making vessels enables Adi Toch to work with both metal and space as materials, thereby redefining these borders. Through texturing, mark making, colouring and patination Adi creates a unique visual language with metal. She explores the morphological qualities of vessels and the process of embedding objects from the domestic landscape with spirit. Her work communicates through its sensory qualities and invites the observer to pick it up or look closely before revealing its story.

Beginning with a flat sheet, Adi Toch forms the metal into hollow forms using hammers and other tools. She creates unique surfaces through texturing, mark making, colouring and patination.

Adi Toch

+44 7972 872769
hello@aditoch.com
aditoch.com

Adi Toch

+44 7972 872769
hello@aditoch.com
aditoch.com

Beginning with a flat sheet, Adi Toch forms the metal into hollow forms using hammers and other tools. She creates unique surfaces through texturing, mark making, colouring and patination.

Adi Toch

Adi Toch explores the visual language of metal through colour, movement, sound and tactility. She creates engaging objects that investigate the embodiment of vessels and containers. Her work begins with a flat sheet of metal and is entirely shaped by hand by means of tools such as hammers. Her work communicates through its sensory qualities and invites the observer to pick it up or look closely before revealing its story. Adi graduated from The Cass, London in 2009 with a Masters in Art, Design & Visual Culture, following her BA from Bezalel Art Academy in Jerusalem, metalwork department. Her work is exhibited internationally and included in major public collections such as the V&A Museum, London, Fitzwilliam Museum, Cambridge, National Museums Scotland, National Museum of Wales and The Jewish Museum, New York.

Alice Riehl embraces the heritage of French Decorative Art, ornamental and porcelain, and turns it into a sculptural material that spreads endlessly in her wall art installations. Each handmade detail is carefully contemplated, emphasising its lightness and sensuality. Nature, under a metaphorical and idealised shape, is at the heart of her porcelain sculptures. To fully and personally appropriate this medium, Alice has combined it with laces from the very beginning. This comes from her family inheritance. Moving beyond the memory of her grandmother crocheting lace, Alice masters this material, printing vibrant textile geometrical forms on the surface of her porcelain sculptures, building personal sculptural works.

Porcelain is hand modelled without any mould. Lace is used to texture patterns on the wet porcelain, which is then covered with a tin oxide glaze. The clay is fired at a high temperature.

Alice Riehl

Paris
+33 6 09 43 08 51
contact@aliceriehl.com
www.aliceriehl.com

Alice Riehl

Paris
+33 6 09 43 08 51
contact@aliceriehl.com
www.aliceriehl.com

Porcelain is hand modelled without any mould. Lace is used to texture patterns on the wet porcelain, which is then covered with a tin oxide glaze. The clay is fired at a high temperature.

Alice Riehl

Nature comes to life and blooms in the intricate refinement of Alice Riehl’s work. Alice discovered porcelain while training at the French Ceramic Institute in Sèvres, France. It has since become her medium of predilection. Her family heritage being linked to that of lacework, it came as a natural choice to combine this medium with her porcelain production. The lace texture effect signs her work. Alice models her works entirely by hand without using any moulds. Each piece is therefore unique. She produces sculptures as well as porcelain wall installations. Nature is at the centre of Alice’s inspiration and work. Her work is found in private and public spaces in Europe, America, the Middle East and Asia.

Alice Riehl embraces the heritage of French Decorative Art, ornamental and porcelain, and turns it into a sculptural material that spreads endlessly in her wall art installations. Each handmade detail is carefully considered, emphasising its lightness and sensuality. Nature, under a metaphorical and idealised shape, is at the heart of her porcelain sculptures. To fully and personally appropriate this medium, Alice has from the very beginning combined it with lace. This idea is inspired by her family inheritance. Drawing on the memory of her grandmother crocheting lace, Alice prints vibrant textile geometrical forms on the surface of her porcelain sculptures, building personal sculptural works.

Porcelain is hand modelled without any mould. Lace is used to texture patterns on the wet porcelain that is then covered with a tin oxide tainted glaze. The clay is fired at a high temperature.

Alice Riehl

Paris
+33 6 09 43 08 51
contact@aliceriehl.com
www.aliceriehl.com

Alice Riehl

Paris
+33 6 09 43 08 51
contact@aliceriehl.com
www.aliceriehl.com

Porcelain is hand modelled without any mould. Lace is used to texture patterns on the wet porcelain that is then covered with a tin oxide tainted glaze. The clay is fired at a high temperature.

Alice Riehl

Nature comes to life and blooms in the intricate refinement of Alice Riehl’s work. Alice discovered porcelain while training at the French Ceramic Institute in Sèvres, France. It has since become her medium of predilection. Her family heritage being linked to that of lacework, it came as a natural choice to combine this medium with her porcelain production. The lace texture effect signs her work. Alice models her works entirely by hand without using any moulds. Each piece is therefore unique. She produces sculptures as well as porcelain wall installations. Nature is at the centre of Alice’s inspiration and work. Her work is found in private and public spaces in Europe, America, the Middle East and Asia.

Rafael Pérez’s works reflect a ceramic world of innovative, guided and controlled paradoxes. Rafael works with master materials that react to heat in different ways, producing ceramics in a controlled yet unpredictable symbiosis with the kiln. Rafael overlays black earthenware and white porcelain clay, two materials that react to heat in different ways when fired. Fired earthenware expands while white porcelain remains static, causing the black earthenware under-layer to tear through the static porcelain. Upon opening the kiln, Rafael takes pleasure in first discovering his works transformed by eruptions of black clay and jagged rifts in the white porcelain. He considers his works to be good when he opens the kiln and, not recognising the pieces as his, gets a surprise.

White porcelain and black earthenware are combined and fired at 1150 degrees. The two clays react differently to heat. While earthenware expands, the other stays inert. The black earthenware therefore breaks through the ceramic.

White porcelain and black earthenware are combined and fired at 1150°C. The two clays react differently to heat. While earthenware expands, the other stays inert. The black earthenware therefore breaks through the ceramic.

​Rafa Perez​​

Breton Herreros 17 26200 Haro
+49 211.17 80 9 830
​​​​​​​​​​rafapharo@yahoo.es
rafaperez.es

​Rafa Perez​​

Breton Herreros 17 26200 Haro
+49 211.17 80 9 830
​​​​​​​​​​rafapharo@yahoo.es
rafaperez.es

White porcelain and black earthenware are combined and fired at 1150°C. The two clays react differently to heat. While earthenware expands, the other stays inert. The black earthenware therefore breaks through the ceramic.

Rafael Pérez

Rafael Perez was born in Haro, La Rioja, Spain in 1957. At first, he studied economics but quickly decided to leave these studies aside and dedicate himself to art. He has exhibited his work in Spain as well as internationally, and has received numerous awards.

Simon Zsolt József would be saddened if viewers of his objects, which are “frozen in a motionless state”, would only see them as “dead”. These objects were given life and took shape through work, life and motion. These shapes evoke the image of simple, microscopic beings. Beings with a true medium of moisture, a lifelike, flowing world. They are like the shells of diatoms that in this size display the traits of order apparent in the kingdom of plants and animals, occasionally imitating the diffuse systems of barren skeletons, branches, or leaves. The white opaqueness highlights a bone-like nature, while the yellow colour moves our imagination towards a flower or fruit-like form. The grey colour tends to bring the interior darkness to the forefront.

The starting point of Simon’s works has always been sketches from which he creates the basis for his mould. He makes multiple pieces of the mould. He cuts the moulds up and connects them together, loosely creating gaps between the individual plaster elements. He then pours the excess slip out of the mould. Removing the plaster from the delicate porcelain surface takes the most concentration.

Simon Zsolt József

szsjindian@gmail.com
simonart.carbonmade.com

Simon Zsolt József

szsjindian@gmail.com
simonart.carbonmade.com

The starting point of Simon’s works has always been sketches from which he creates the basis for his mould. He makes multiple pieces of the mould. He cuts the moulds up and connects them together, loosely creating gaps between the individual plaster elements. He then pours the excess slip out of the mould. Removing the plaster from the delicate porcelain surface takes the most concentration.

Zsolt József Simon

Simon Zsolt József is a Hungarian ceramicist, painter, sculptor and designer. Simon studied porcelain painting (1988-1991) at Fischer Mor Porcelain Industrial Vocational School, Herend. Movement in sports and dance are important to him and are an integral part of his works. Upon graduating, Simon travelled around the world. During this time, he drew a lot, experimenting with drawing and developing a style true to himself and his passion for movement. Upon returning to Hungary, Simon started to adapt this drawing style to his work as a porcelain painter. Over the years, he complemented his previous studies with numerous others in music, drama, painting, teaching and design of porcelain production. Simon considers his sculptures, drawings and paintings to be studies of movements without real forms.

Simon Zsolt József would be saddened if viewers of his objects, which are “frozen in a motionless state”, would only see them as “dead”. These objects were given life and took shape through work, life and motion. These shapes evoke the image of simple, microscopic beings. Beings with a true medium of moisture, a lifelike, flowing world. They are like the shells of diatoms that in this size display the traits of order apparent in the kingdom of plants and animals, occasionally imitating the diffuse systems of barren skeletons, branches, or leaves. The white opaqueness highlights a bone-like nature, while the yellow colour moves our imagination towards a flower or fruit-like form. The grey colour tends to bring the interior darkness to the forefront.

The starting point of Simon’s works has always been sketches from which he creates the basis for his mould. He makes multiple pieces of the mould. He cuts the moulds up and connects them together, loosely creating gaps between the individual plaster elements. He then pours the excess slip out of the mould. Removing the plaster from the delicate porcelain surface takes the most concentration.

Simon Zsolt József

szsjindian@gmail.com
simonart.carbonmade.com

Simon Zsolt József

szsjindian@gmail.com
simonart.carbonmade.com

The starting point of Simon’s works has always been sketches from which he creates the basis for his mould. He makes multiple pieces of the mould. He cuts the moulds up and connects them together, loosely creating gaps between the individual plaster elements. He then pours the excess slip out of the mould. Removing the plaster from the delicate porcelain surface takes the most concentration.

Zsolt József Simon

Simon Zsolt József is a Hungarian ceramicist, painter, sculptor and designer. Simon studied porcelain painting (1988-1991) at Fischer Mor Porcelain Industrial Vocational School, Herend. Movement in sports and dance are important to him and are an integral part of his works. Upon graduating, Simon travelled around the world. During this time, he drew a lot, experimenting with drawing and developing a style true to himself and his passion for movement. Upon returning to Hungary, Simon started to adapt this drawing style to his work as a porcelain painter. Over the years, he complemented his previous studies with numerous others in music, drama, painting, teaching and design of porcelain production. Simon considers his sculptures, drawings and paintings to be studies of movements without real forms.

Simon Zsolt József would be saddened if viewers of his objects, which are “frozen in a motionless state”, would only see them as “dead”. These objects were given life and took shape through work, life and motion. These shapes evoke the image of simple, microscopic beings. Beings with a true medium of moisture, a lifelike, flowing world. They are like the shells of diatoms that in this size display the traits of order apparent in the kingdom of plants and animals, occasionally imitating the diffuse systems of barren skeletons, branches, or leaves. The white opaqueness highlights a bone-like nature, while the yellow colour moves our imagination towards a flower or fruit-like form. The grey colour tends to bring the interior darkness to the forefront.

The starting point of Simon’s works has always been sketches from which he creates the basis for his mould. He makes multiple pieces of the mould. He cuts the moulds up and connects them together, loosely creating gaps between the individual plaster elements. He then pours the excess slip out of the mould. Removing the plaster from the delicate porcelain surface takes the most concentration.

Simon Zsolt József

szsjindian@gmail.com
simonart.carbonmade.com

Simon Zsolt József

szsjindian@gmail.com
simonart.carbonmade.com

The starting point of Simon’s works has always been sketches from which he creates the basis for his mould. He makes multiple pieces of the mould. He cuts the moulds up and connects them together, loosely creating gaps between the individual plaster elements. He then pours the excess slip out of the mould. Removing the plaster from the delicate porcelain surface takes the most concentration.

Zsolt József Simon

Simon Zsolt József is a Hungarian ceramicist, painter, sculptor and designer. Simon studied porcelain painting (1988-1991) at Fischer Mor Porcelain Industrial Vocational School, Herend. Movement in sports and dance are important to him and are an integral part of his works. Upon graduating, Simon travelled around the world. During this time, he drew a lot, experimenting with drawing and developing a style true to himself and his passion for movement. Upon returning to Hungary, Simon started to adapt this drawing style to his work as a porcelain painter. Over the years, he complemented his previous studies with numerous others in music, drama, painting, teaching and design of porcelain production. Simon considers his sculptures, drawings and paintings to be studies of movements without real forms.

Daniele Papuli chose this material, vinyl, as an elected matter for his artistic research due to its flexibility when in strips, much like paper. The individual components that make up the object – strips, lamellae, tapes – lend a dynamic structure that is expressed through an articulated and uninterrupted game consisting of superimposing and sliding the various components. When placed side by side, the strips create a large vase in the shape of a corolla, petals of a flower as a unit, Talea.

Cut strips of red vinyl sheet have attached to one another around central metal and glass cylinders. One by one, the strips are placed on one another.

Daniele Papuli

Milan
+39 02 2841960
info@danielepapuli.net
www.danielepapuli.net

Daniele Papuli

Milan
+39 02 2841960
info@danielepapuli.net
www.danielepapuli.net

Cut strips of red vinyl sheet have attached to one another around central metal and glass cylinders. One by one, the strips are placed on one another.

Daniele Papuli

After graduating in sculpture from the Accademia di Belle Arti di Brera, Daniel Papuli settled in Milan where he still lives and works. He first experimented with sculpture at the start of the 1990’s, working with stone, wood and plaster. During an international workshop held in Berlin in 1993, Daniel was first introduced to the methods of paper manufacturing. He experimented with paper over the next few years making this his principal medium of creation, and in 1997 created his first paper sculpture. Since, Daniel has worked with publishers creating handmade sheets of paper. He continues to experiment with materials with similar structures and tactile properties to paper. He has exhibited his works internationally and they are found in private and public collections in Italy and abroad and in publications of paper art.

Eleanor Lakelin’s distinctive forms are created in response to the passage of time etched into the fibres of wood. She explores her fascination with the natural properties of this material using a traditional woodworking lathe, centuries-old chisels and gouges alongside modern techniques and tools. Wood provenance is of particular importance to Eleanor who only uses wood from trees felled in the British Isles, in particular ash and horse chestnut burr. She loves the fact that wood is not inert, it is living and has been living for centuries before our lifetime. It is important to her to have a dialogue and relationship with the material in order to work with it properly. Her forms are born from ideas such as the exploration of texture. Eleanor will pick a wood with properties that permit her to develop her idea to its fullest. Her works express erosion, the rhythm of time and the layers and fissures between creation and decay.

The initial shape is created by turning wood on a lathe. The shape is then sandblasted and chiselled. Finally, the wood is treated with an iron solution to react with the tannic acid content of the wood.

Eleanor Lakelin

Studio 011, Cockpit Arts, 18-22 Creekside, Deptford SE8 3DZ London
(+44) 7944811675
eleanor@eleanorlakelin.com
eleanorlakelin.com

Eleanor Lakelin

Studio 011, Cockpit Arts, 18-22 Creekside, Deptford SE8 3DZ London
(+44) 7944811675
eleanor@eleanorlakelin.com
eleanorlakelin.com

The initial shape is created by turning wood on a lathe. The shape is then sandblasted and chiselled. Finally, the wood is treated with an iron solution to react with the tannic acid content of the wood.

Eleanor Lakelin

Eleanor Lakelin is a London based artist who grew up in a rural area of Wales immersed in nature. This understanding and love of natural material has informed her artistic life. She loves wood, its history and provenance and the fact that it is a living material. She has spent many years perfecting form and experimenting with how the properties of wood can be used to express the rhythm of time and our relationship to the earth. Eleanor exhibits extensively internationally and her pieces have won many awards and commendations. Her work is held in numerous prestigious collections worldwide.

The title of the work refers to the 1960s Brazilian "Tropicalia" artistic movement that combined local culture with western avant-gardism. An amalgamation that fittingly describes Gianluca Pacchioni’s world and works, which combine French Classicism, Italian Baroque and Japanese Ren with tropical imagery. This starts in his workshop, a tropical island in the heart of the Milanese industrial district, and his loft, where numerous bamboo, banana leaves and exotic flowers have been fossilised inside his works. His works eternalise ephemeral plants under immutable layers of liquid metal. Tropical Fossil should at the same time be seen and interpreted as an architectural sculpture, a monument and a screen.

The work presents a variety of techniques. Leaves are “fossilised” by creating differently textured moulds. Cold casting of the bronze is then used as a technique to minimise the bronze layer and therefore the final weight. On the other side, a one-millimetre brass sheet is used. There are around 30 hand-scratched elements on the patina, creating a visual depth. The two decorative panels are fixed on a waterproof wood structure and framed by four-millimetre thick solid brass.

Gianluca Pacchioni

Via Druso 2 20133 Milan
+39 0270121262
talkto@gianluca-pacchioni.com
www.gianluca-pacchioni.com

Gianluca Pacchioni

Via Druso 2 20133 Milan
+39 0270121262
talkto@gianluca-pacchioni.com
www.gianluca-pacchioni.com

The work presents a variety of techniques. Leaves are “fossilised” by creating differently textured moulds. Cold casting of the bronze is then used as a technique to minimise the bronze layer and therefore the final weight. On the other side, a one-millimetre brass sheet is used. There are around 30 hand-scratched elements on the patina, creating a visual depth. The two decorative panels are fixed on a waterproof wood structure and framed by four-millimetre thick solid brass.

Gianluca Pacchioni

After graduating in economics and business studies from the Bocconi University in Milan, Gianluca Pacchioni moved to Paris. There, during the nineties, he was plunged into the Paris art world and was overcome with a passion for sculpting metals. He experimented and learnt in an autodidact manner, in the studio shared with other artists at the Quai de la Gare. A desire to work in tandem with the flexibility, experience and creativity of Italian artists drove Gianluca to then move to Milan where he opened a workshop in a 1930s factory. Since then, the workshop has constantly forged sculptures and limited editions of furniture. The workshop only produces works with experimental and innovative working techniques. In 2014, one of his works was permanently exhibited as a symbol of Italian savoir-faire, at the entrance hall of the Italian Embassy in Paris

Joe Hogan's artistic baskets are usually inspired by materials that he finds during his walks in the woods. The nature of the discovery of these materials means that most of the baskets are unique and that it is usually quite complicated or impossible to make two the same. These baskets with wooden mouths combine the traditional techniques of basket making with contemporary sculpture-like designs.

The baskets are made using willow grown on Joe Hogan’s farm. The willow must first be harvested, sorted and dried and then soaked for about 10 days to make it pliable enough for weaving using traditional basket-weaving techniques. In some shapes such as the driftwood pouch with embedded stone, Joe makes the basket upside down, completing the base of the basket last.

Joe Hogan

Loch na Fooey, Finny, Clonbur Galway
+353 9548241
joe@joehoganbaskets.com
www.joehoganbaskets.com

Joe Hogan

Loch na Fooey, Finny, Clonbur Galway
+353 9548241
joe@joehoganbaskets.com
www.joehoganbaskets.com

The baskets are made using willow grown on Joe Hogan’s farm. The willow must first be harvested, sorted and dried and then soaked for about 10 days to make it pliable enough for weaving using traditional basket-weaving techniques. In some shapes such as the driftwood pouch with embedded stone, Joe makes the basket upside down, completing the base of the basket last.

Joe Hogan

Joe Hogan has worked as a basket-maker since 1977 and opened his own workshop at Loch Na Fooey in the west of Ireland in 1978. He was drawn to basket making because it offered the possibility of living in that beautiful area and growing their own willow. For many years Joe concentrated on making functional baskets and improving his skills. He also researched and made most of the indigenous baskets of Ireland, the baskets that were used for fishing and farming. For the past 20 years, Joe has become increasingly interested in making artistic baskets. These are usually inspired by finds of wood. This work is prompted by a desire to develop a deeper connection to nature.

With each piece, Jodie Hatcher challenges the processes and pushes the material to create her desired forms. She creates this series of woven vessels through a continual experimentation and exploration of weaving. Her aim with these woven metal sculptures is to intrigue the viewer and incite questions.

Jodie Hatcher plans each vessel quite logically and mathematically. She weaves the sheet into a pattern piece, then repeatedly hammers and anneals the woven metal to create her desired form.

Jodie Hatcher

+44 7946215976
info@jodiehatcher.co.uk
www.jodiehatcher.co.uk

Jodie Hatcher

+44 7946215976
info@jodiehatcher.co.uk
www.jodiehatcher.co.uk

Jodie Hatcher plans each vessel quite logically and mathematically. She weaves the sheet into a pattern piece, then repeatedly hammers and anneals the woven metal to create her desired form.

Jodie Hatcher

The weaving process is central to Jodie Hatcher’s work and is always what drives her development. She graduated from De Montfort University, Leicester in 2011 in Design Crafts and has since gone on to exhibit her work around the UK and internationally. Jodie has experimented with traditional Japanese metal colouring and heat treatment methods during her new 'Vessel' collection to gain further understanding and control over the beautiful reds and orange colours she desires. Jodie’s intention for all her pieces is to both intrigue and to be questioned by the viewer. In 2015, Jodie was selected as the International artist for the Craft ACT Artist in Residence program in Canberra, Australia and earlier this year exhibited as part of the Masters of Modern exhibition in Munich.

Marik Korus’ medium of choice is porcelain, a material she works and shapes with an infinite degree of patience and meticulousness.

Thin pieces of textured porcelain are placed one by one around a central form. The finished porcelain form is fired twice up to 1260 degrees centigrade.

Marik Korus

52, rue de la Bessure 17570 Saint Augustin
+33 660 28 09 37
marik.korus@wanadoo.fr
www.marik-korus.fr

Marik Korus

52, rue de la Bessure 17570 Saint Augustin
+33 660 28 09 37
marik.korus@wanadoo.fr
www.marik-korus.fr

Thin pieces of textured porcelain are placed one by one around a central form. The finished porcelain form is fired twice up to 1260 degrees centigrade.

Marie Claude Korus

Marik Korus (Marie Claude Korus) draws her inspiration from nature, the sea, architecture and details from her environment that capture her attention. She is continually inspired by the nature in Charente-Maritime, France, where she has lived for more than 15 years. Marik works with porcelain, which she finds offers infinite creative possibilities. At first, earth was simply an attractive medium for Marik, however she then found that by kneading, touching and transforming this material it provoked constant questions until the final firing of the earth. Having started from a discovery of the raw qualities of earth, Marik today seeks to increase its transparency and lightness.

Marik Korus’ medium of choice is porcelain, a material that she works and shapes with an infinite degree of patience and meticulousness.

Thin pieces of textured porcelain elements are placed one by one around a central form. The finished porcelain form is fired twice up to 1260°C degrees.

Marik Korus

52, rue de la Bessure 17570 Saint Augustin
+33 660 28 09 37
marik.korus@wanadoo.fr
www.marik-korus.fr

Marik Korus

52, rue de la Bessure 17570 Saint Augustin
+33 660 28 09 37
marik.korus@wanadoo.fr
www.marik-korus.fr

Thin pieces of textured porcelain elements are placed one by one around a central form. The finished porcelain form is fired twice up to 1260°C degrees.

Marie Claude Korus

Marik Korus (Marie Claude Korus) draws her inspiration from nature, the sea, architecture and details from her environment that capture her attention. She is continually inspired by the nature in Charente-Maritime, France, where she has lived for more than 15 years. Marik works with porcelain, which she finds offers infinite creative possibilities. At first, earth was simply an attractive medium for Marik, however she then found that by kneading, touching and transforming this material it provoked constant questions until the final firing of the earth. Having started from a discovery of the raw qualities of earth, Marik today seeks to increase its transparency and lightness.

All Alain Mailland’s works are based on the beauty of wood. He mainly uses precious roots and species from the South of France. Alain believes there is a correspondence between all the species living on earth and that animal or mineral shapes can be found in roots and vegetable forms as well as in stone or bones.

One piece of cherry wood is hand turned on a lathe then carved, planed, textured, engraved and painted.

Alain Mailland

Prat-Nouvel, Route de Valmale 30530 Chamborigaud
0033 466 43 66 38
alain@mailland.fr
mailland.fr

Alain Mailland

Prat-Nouvel, Route de Valmale 30530 Chamborigaud
0033 466 43 66 38
alain@mailland.fr
mailland.fr

One piece of cherry wood is hand turned on a lathe then carved, planed, textured, engraved and painted.

Alain Mailland

Born in the Ivory Coast, Alain Mailland moved to Paris at the age of five where he lived until the end of his studies at the National Art School of Cergy-Pontoise. Following his studies, Alain first worked as a mason and carpenter. It was not until he was twenty-eight that he took his first course in woodturning. Alain created a company specialising in interior woodwork, yet he continued to turn wood as an amateur. However, during the early 1990s Alain slowly changed his focus from wood joining to woodturning, and has since dedicated himself exclusively to this craft. Alain soon developed his own distinctive style and technique, particularly in hollowing. He developed special tools to turn wood flowers, and then used this technique to turn and carve pieces evoking marine life or natural creatures. He also uses techniques such as steam bending, texturing and sandblasting. Alain is an internationally recognised wood turner and his works have been exhibited internationally. His works feature in a number of museums both in France and in the United States.

To Marlies Von Soden, costume and design sets create relief-like spatial impressions, the essence of which are found in the folds and twists of fabric. These by nature are ephemeral, continuously changing from one fold to another. Marlies’ sculptures capture and preserve these moments by playfully transferring them to a polypropylene medium. The outcome of this extruded material is organic. It resembles a medium that has been heated, and through a force of compression folded into itself. The medium permits Marlies to immortalise echoes of these fleeting moments.

Through a process called extrusion, solid plastic is passed through a machine into a warm malleable state. Marlies Von Soden then shapes and organises the plastic until it cools down and regains its original rigidity.

Marlies Von Soden

Karl-schrader-str. 9 10781 Berlin
(+49) 3021755845
Info@marliesvonsoden.com
www.marliesvonsoden.com

Marlies Von Soden

Karl-schrader-str. 9 10781 Berlin
(+49) 3021755845
Info@marliesvonsoden.com
www.marliesvonsoden.com

Through a process called extrusion, solid plastic is passed through a machine into a warm malleable state. Marlies Von Soden then shapes and organises the plastic until it cools down and regains its original rigidity.

Marlies von Soden

Born in Hamburg, Marlies Von Soden studied design and costume at the Berlin University of Arts. Marlies worked on costume and set designs for the film and theatre industry for more than thirty years. Her works draw inspiration from this textile-filled experience, attempting to capture the fleeting folds of fabric. Marlies works with neoprene, tyvek® (polyethylene fleece) and phenolic foam. Her folded objects are displayed internationally in collections such as Madame Olivetti or in the Watermill Center, Robert Wilson’s Design Museum on Eastern Long Island.

Mauro Mori’s works are modelled by hand and not by machine.

In 1994, Mauro Mori started his own business and in 1998 he inaugurated his own atelier, Mauro Mori Studio. In January 2014 Mauro founded Hand©, a non-profit association that helps people, artists and craftsmen suffering from physical or economic hardship or other stressful situations.

Sculpture hand carved from a single block of Paonazzo marble molded by using a classical subtraction method.

In 1994, Mauro Mori started his own business and in 1998 he inaugurated his own atelier, Mauro Mori Studio. In January 2014 Mauro founded Hand©, a non-profit association that helps people, artists and craftsmen suffering from physical or economic hardship or other stressful situations.

Mauro Mori Studio

Via Meda 37 20141 Milan
+39 02 7012 4518
info@mauromori.it
www.mauromori.it

Mauro Mori Studio

Via Meda 37 20141 Milan
+39 02 7012 4518
info@mauromori.it
www.mauromori.it

Sculpture hand carved from a single block of Paonazzo marble molded by using a classical subtraction method.

Mauro Mori

Mauro Mori has had the opportunity to meet various cultures and travel to unusual places. This has supplied the ideas on which his research is based. His works are moulded by hand bringing emotional and affective values using natural materials, exalting what nature has created. Solid blocks of natural material, moulded by the traditional subtraction method, form the basis of his works. Mauro often works his sculptures in the place of the material's origin, such as Albizia Rosa of Seychelles or marble worked directly at Carrara. The plasticity of the materials, the relief work and the outstanding craftsmanship are common threads running through all his work. His constant research is also shown by the work on metals, which are tooled in plate form and finished with oxidations and patinas.

This is a bright and dark orange glass form with points, evocative of shapes and patterns found in a coral reef. Patterns of seemingly fissured glass emerge from the handmade sculpture, created by the fusing of different glass elements in a mould.

Glass cast in a kiln. Optical glass with a colour overlay on the surface is melted in a mould. The melting and cooling process takes place in custom-built furnaces in Behrens' studio in Duesseldorf. The finish involves sandblasting, grinding and polishing.

Michael Behrens

Krahkampweg 75 D-40221 Düsseldorf
studio@michael-behrens.com
michael-behrens.com

Michael Behrens

Krahkampweg 75 D-40221 Düsseldorf
studio@michael-behrens.com
michael-behrens.com

Glass cast in a kiln. Optical glass with a colour overlay on the surface is melted in a mould. The melting and cooling process takes place in custom-built furnaces in Behrens' studio in Duesseldorf. The finish involves sandblasting, grinding and polishing.

Michael Behrens

Michael Behrens studied at the Academy of Fine Arts in Maastricht, Netherlands, where he graduated with a Bachelor's degree in 2003. The use of colours inspired by the underwater world is central to Michael’s work. Shapes and structures remain in focus and define the dynamic aesthetic of his sculptures on both a micro and macroscopic level. Characteristics of his work include the fine relief-like modelling of the outer shape of his sculptures, the interplay of matt and polished surfaces, as well as cell-like structures emerging from fusing glass sections. An essential part of creating a new Seaform is the sculptural work on the rigid foam model. His work has been part of numerous solo and group exhibitions in Europe and the United States and Canada. He lives and works in Dusseldorf, Germany.

Through her sculptures, Monika Patuszyńska challenges the use of everyday objects. She cuts and combines ordinary objects such as glasses, bowls and plates into sculptures. Her works are inspired by traditional ceramic objects and techniques. The traditions of Lower Silesian porcelain production have played a central role in her work. Using traditional casting techniques, Monika first combined a kettle and a cup in 1999. This unsuspecting first creation triggered a wave of experimentation, assembling fragments to create completely new forms to cast. This soon became a characteristic feature of her design.

The pair of porcelain vases is cast from fragments of found plaster moulds modified and joined to form a completely new mould. It deprives them of their earlier designed character and allows Monika to define a new object.

Monika Patuszynska

+48 602 73 95 49
mpatuszynska@gmail.com
www.patuszynska.art.pl

Monika Patuszynska

+48 602 73 95 49
mpatuszynska@gmail.com
www.patuszynska.art.pl

The pair of porcelain vases is cast from fragments of found plaster moulds modified and joined to form a completely new mould. It deprives them of their earlier designed character and allows Monika to define a new object.

Monika Patuszynska

Born in Warsaw, Poland, artist and curator Monika Patuszyńska first became fascinated with ceramics while in high school in Denmark. Later while studying in Paris she was introduced to casting of ceramics, a technique that has been central to her work ever since. Monika received her MA from the Wroclaw Academy of Fine Arts (Poland) in 1999. The exploration of abandoned spaces and untried paths is central to her work. Monika opened her own studio in Milanówek near Warsaw in 2001. She frequently exhibits all over the world and has won many awards for her work, which is found in public and private collections worldwide. She is a member of the International Academy of Ceramics.

Pieces of iron rods usually used to make reinforced concrete are cut out. These are twisted and shaped to create the twigs of the nest. Then Frédérique Petit stacks them as harmoniously as possible and fixes them with a welding tip.

Frédérique Petit

+33 6 16 26 35 07
f.petit-charry@wanadoo.fr
www.frederiquepetit.com

Frédérique Petit

+33 6 16 26 35 07
f.petit-charry@wanadoo.fr
www.frederiquepetit.com

Pieces of iron rods usually used to make reinforced concrete are cut out. These are twisted and shaped to create the twigs of the nest. Then Frédérique Petit stacks them as harmoniously as possible and fixes them with a welding tip.

Frédérique Petit

Frédérique Petit has explored many art forms ranging from, piano, choir, and decoration to metalwork, but there is one common denominator to these: thread. Thread as weft or as chain, as a palette of colours or as architecture, from thin almost invisible silk thread to her later works that use iron rods. Frédérique discovered and learnt how to weave through self-learning and observing primitive looms at the Musée de l'Homme. She dedicated a good part of her career to the creation of tapestries, but in 2004, an ardent desire to explore other crafts pushed her to experiment with different materials. Paradoxically though, she uses her experience gained while making tapestries to weave her new materials. To Frédérique, a deep technical knowhow of the medium she uses is indispensable, however once mastered she strives to go push limits of her knowhow through the innovation of techniques.

Pieces of iron rods usually used to make reinforced concrete are cut out. These are twisted and shaped to create the twigs of the nest. Then Frédérique Petit stacks them as harmoniously as possible and fixes them with a welding tip.

Frédérique Petit

+33 6 16 26 35 07
f.petit-charry@wanadoo.fr
www.frederiquepetit.com

Frédérique Petit

+33 6 16 26 35 07
f.petit-charry@wanadoo.fr
www.frederiquepetit.com

Pieces of iron rods usually used to make reinforced concrete are cut out. These are twisted and shaped to create the twigs of the nest. Then Frédérique Petit stacks them as harmoniously as possible and fixes them with a welding tip.

Frédérique Petit

Frédérique Petit has explored many art forms ranging from, piano, choir, and decoration to metalwork, but there is one common denominator to these: thread. Thread as weft or as chain, as a palette of colours or as architecture, from thin almost invisible silk thread to her later works that use iron rods. Frédérique discovered and learnt how to weave through self-learning and observing primitive looms at the Musée de l'Homme. She dedicated a good part of her career to the creation of tapestries, but in 2004, an ardent desire to explore other crafts pushed her to experiment with different materials. Paradoxically though, she uses her experience gained while making tapestries to weave her new materials. To Frédérique, a deep technical knowhow of the medium she uses is indispensable, however once mastered she strives to go push limits of her knowhow through the innovation of techniques.

Robi Renzi loves the slow pace that his ceramic production requires, sinking his hands in clay and music playing in the background. He loves studying the matter he works with, undertaking thousands of tests and making infinite discoveries, and is always surprised when he opens the kiln. His works blur the border between decorative and functional objects. Robi limits his work to a particular type of vase and this limitation forces him to investigate and explore the subject further.

Usually, the model from which the plaster mould is obtained is made with a block of red clay. However, the object is very brittle and heavy and it is difficult to obtain sharp edges which can be damaged during handling. So, Robi makes the model by cutting it directly from a block of polystyrene. Each cut has to be made perfectly as this material cannot be repaired. Porcelain vases are created in the mould then painted with a special blue mirroring glaze and fired at 1010°C.

Usually, the model from which the plaster mould is obtained is modelled with a block of red clay. However, the object is very brittle and heavy and it is difficult to obtain sharp edges that are damaged during handling. So, Robi makes the model by cutting it directly from a block of polystyrene. Each cut has to be made perfectly as this material cannot be repaired. Porcelain vases are created in the mould then painted with a special blue mirroring glaze and fired at 1010°C

Roberto Renzi

Via Silanello , N. 20 36055 Nove (VI)
+39 329 1231484
info@robirenzi.it
www.robirenzi.it

Roberto Renzi

Via Silanello , N. 20 36055 Nove (VI)
+39 329 1231484
info@robirenzi.it
www.robirenzi.it

Usually, the model from which the plaster mould is obtained is modelled with a block of red clay. However, the object is very brittle and heavy and it is difficult to obtain sharp edges that are damaged during handling. So, Robi makes the model by cutting it directly from a block of polystyrene. Each cut has to be made perfectly as this material cannot be repaired. Porcelain vases are created in the mould then painted with a special blue mirroring glaze and fired at 1010°C

Robi Renzi

Robi Renzi was born in the Italian region of Marche and currently lives and works in Veneto, Italy. Robi studied at the University of Architecture in Florence. In 1993, he settled in Milan where he founded 'Renzi & Reale' with Roberto Reale, working in the world of interior design. They had a large studio and produced works for fashion and furniture companies and featured in many publications in national and international newspapers. They worked with a number of materials including fabric, wood, resin, metal sheets and casting. Today, Robi dedicates himself to ceramics. He is very interested in applying ceramic-making methods and processes to that of other materials. Each collection is based around a theme, a technique or a material.

The ancient Egyptians held the colour blue in very high regard because it was considered the colour of life, fertility and rebirth. Since the semiprecious blue stone lapis lazuli was rare and extremely expensive, craftsmen tried to imitate the hue. The discovery of the first synthetic pigment emerged from the production of glazed ceramics because the raw materials (silica, lime, copper, and alkali) were the same. Following its discovery, the use of the synthetic pigment spread throughout Mesopotamia, Greece, and the far reaches of the Roman Empire. ‘Egyptian blue’ had a strong influence on European art and was applied to, amongst others, the wall paintings of Pompeii.

The vase is handmade from coiled coloured felt strips. An enlarged glass tube is placed in the felt vase, allowing it to hold water.

Siba Sahabi

Krelis Louwenstraat 1 B29 1055 Amsterdam
(+31) 614173437
info@sibasahabi.com
www.sibasahabi.com

Siba Sahabi

Krelis Louwenstraat 1 B29 1055 Amsterdam
(+31) 614173437
info@sibasahabi.com
www.sibasahabi.com

The vase is handmade from coiled coloured felt strips. An enlarged glass tube is placed in the felt vase, allowing it to hold water.

Siba Sahabi

Being the daughter of an Iranian father and German mother, these cultures have had a strong influence on Siba Sahabi’s life and profession. Her work shows how cultures can influence each other and how cross-cultural exchanges can lead to new expressions, focusing on the influence of the Middle East on Europe. Her designs range from centrepieces such as vases to larger objects such as room dividers. Through experimental application of different materials, such as paper, felt and resin, Siba plays with the perception of surfaces and structures. Felt vases are typical of her design, referencing the potter’s wheel, which has its origins in ancient Mesopotamia. Most of her work is handmade and draws on the uniqueness and imperfection inherent to craftsmanship. Her award-winning work has been exhibited internationally in museums and galleries.

The ancient Egyptians held the colour blue in very high regard because it was considered the colour of life, fertility and rebirth. Since the semiprecious blue stone lapis lazuli was rare and extremely expensive, craftsmen tried to imitate the hue. The discovery of the first synthetic pigment emerged from the production of glazed ceramics because the raw materials (silica, lime, copper, and alkali) were the same. Following its discovery, the use of the synthetic pigment spread throughout Mesopotamia, Greece, and the far reaches of the Roman Empire. ‘Egyptian blue’ had a strong influence on European art and was applied to, amongst others, the wall paintings of Pompeii.

The vase is handmade from coiled coloured felt strips. An enlarged glass tube is placed in the felt vase, allowing it to hold water.

Siba Sahabi

Krelis Louwenstraat 1 B29 1055 Amsterdam
(+31) 614173437
info@sibasahabi.com
www.sibasahabi.com

Siba Sahabi

Krelis Louwenstraat 1 B29 1055 Amsterdam
(+31) 614173437
info@sibasahabi.com
www.sibasahabi.com

The vase is handmade from coiled coloured felt strips. An enlarged glass tube is placed in the felt vase, allowing it to hold water.

Siba Sahabi

Being the daughter of an Iranian father and German mother, these cultures have had a strong influence on Siba Sahabi’s life and profession. Her work shows how cultures can influence each other and how cross-cultural exchanges can lead to new expressions, focusing on the influence of the Middle East on Europe. Her designs range from centrepieces such as vases to larger objects such as room dividers. Through experimental application of different materials, such as paper, felt and resin, Siba plays with the perception of surfaces and structures. Felt vases are typical of her design, referencing the potter’s wheel, which has its origins in ancient Mesopotamia. Most of her work is handmade and draws on the uniqueness and imperfection inherent to craftsmanship. Her award-winning work has been exhibited internationally in museums and galleries.

The ancient Egyptians held the colour blue in very high regard because it was considered the colour of life, fertility and rebirth. Since the semiprecious blue stone lapis lazuli was rare and extremely expensive, craftsmen tried to imitate the hue. The discovery of the first synthetic pigment emerged from the production of glazed ceramics because the raw materials (silica, lime, copper, and alkali) were the same. Following its discovery, the use of the synthetic pigment spread throughout Mesopotamia, Greece, and the far reaches of the Roman Empire. ‘Egyptian blue’ had a strong influence on European art and was applied to, amongst others, the wall paintings of Pompeii.

The vase is handmade from coiled coloured felt strips. An enlarged glass tube is placed in the felt vase, allowing it to hold water.

Siba Sahabi

Krelis Louwenstraat 1 B29 1055 Amsterdam
(+31) 614173437
info@sibasahabi.com
www.sibasahabi.com

Siba Sahabi

Krelis Louwenstraat 1 B29 1055 Amsterdam
(+31) 614173437
info@sibasahabi.com
www.sibasahabi.com

The vase is handmade from coiled coloured felt strips. An enlarged glass tube is placed in the felt vase, allowing it to hold water.

Siba Sahabi

Being the daughter of an Iranian father and German mother, these cultures have had a strong influence on Siba Sahabi’s life and profession. Her work shows how cultures can influence each other and how cross-cultural exchanges can lead to new expressions, focusing on the influence of the Middle East on Europe. Her designs range from centrepieces such as vases to larger objects such as room dividers. Through experimental application of different materials, such as paper, felt and resin, Siba plays with the perception of surfaces and structures. Felt vases are typical of her design, referencing the potter’s wheel, which has its origins in ancient Mesopotamia. Most of her work is handmade and draws on the uniqueness and imperfection inherent to craftsmanship. Her award-winning work has been exhibited internationally in museums and galleries.

The bowl is turned from a single piece of 50kg clay. The particular challenge with this cantilevered form and size is the static; that is the retention of the form during the firing process.

Thomas Bohle

Färbergasse 2, 6850 Dornbirn Dornbirn
+43 650 7031958
atelier@thomasbohle.com
www.thomasbohle.com

Thomas Bohle

Färbergasse 2, 6850 Dornbirn Dornbirn
+43 650 7031958
atelier@thomasbohle.com
www.thomasbohle.com

The bowl is turned from a single piece of 50kg clay. The particular challenge with this cantilevered form and size is the static; that is the retention of the form during the firing process.

Thomas Bohle

Thomas Bohle was born in 1958 in Dornbirn, Austria. While in England at the age of 26, Thomas sat down at a potter’s wheel for the first time. This contact with clay and the process of creating using his hands moved him, marking the beginning of an artistic career dedicated to ceramics. He experimented and researched traditional forms and surfaces and built a rich foundation for working with ceramics. He completed a pottery apprenticeship in 1987 and subsequently opened his own atelier in Dornbirn. Little by little, he developed a recognisable style and gained recognition from fellow artists as well as the art world. In 2002, Thomas embarked on a study trip to Japan followed by exhibitions in Shanghai and Tokyo. In 2006, Thomas was awarded the Bavarian State Prize.

Simone Crestani takes his inspiration from natural forms, which much like his mastering of glassworking techniques, exemplify equilibrium and imperfect elegance. His work starts outside of the studio, when contemplating the beauty and poetry of natural forms found throughout the countryside. Through his sculptural glass works, Simone aims to recreate an equilibrium found in nature by integrating his research with contemporary design. He then gives life to his thoughts through glass.

Simone gently blows through a small hand held rubber tube to expand torch-heated glass, shaping it with tongs and fusing different pieces and shapes together.

Atelier Crestani di Simone Crestani

Via Boschi 36/A 36043 Camisano Vicentino
+39 3932399458
info@simonecrestani.com
www.simonecrestani.com/

Atelier Crestani di Simone Crestani

Via Boschi 36/A 36043 Camisano Vicentino
+39 3932399458
info@simonecrestani.com
www.simonecrestani.com/

Simone gently blows through a small hand held rubber tube to expand torch-heated glass, shaping it with tongs and fusing different pieces and shapes together.

Simone Crestani

Simone Crestani started working glass at the age of 15. After a ten-year apprenticeship in Lunardon’s factory, he opened his own studio. An introspective and self-taught artisan, Simone has over the years combined lessons learnt and experiences gained to push glassworking beyond traditional boundaries. Simone goes beyond traditional techniques and overcomes limits of shapes and dimensions of hollow spaces. He works glass in a technique that he calls Hollow Sculpture, which allows him to create large-scale pieces without neglecting the smallest detail. Simone combines design and artisanship to produce innovative and exclusive sculptural pieces. Simone’s innovative glassworking techniques are recognised and appreciated around the world.

The foundation of every one of Gabriella Gabrini’s creations is born from an idea. No work can be started if an elaborate design and planning has not been undertaken first. The design will determine the shape, size and patterns of the work as well as the colour palette and relation of the enamel work. Different shades of colour influence the way in which the viewer will experience the work. Then the material creation of the work commences. Given that this is enamel on metal, a variety of metals such as copper, iron, gold, silver and stainless steel can be used. These are shaped using such techniques as hammering, embossing and chiselling. The finished object is subjected to a first firing to burn fat and impurities. Then it is pickled, by being immersed in a solution of sulfuric acid that completely cleans the surface. Now the enamelling can begin.

Gabriella Gabrini uses a particular technique and a process of melting in an oven heated to 950°C that adds a vitreous paste composed of siliceous, alkali and metal oxides to metal surfaces such as copper, iron, silver and gold, creating a unique combination of light and transparency.

Gabriella Gabrini

Riviera San Benedetto 134 15138 Padova
+39 348 225 7212
gabriella.gabrini@gmail.com

Gabriella Gabrini

Riviera San Benedetto 134 15138 Padova
+39 348 225 7212
gabriella.gabrini@gmail.com

Gabriella Gabrini uses a particular technique and a process of melting in an oven heated to 950°C that adds a vitreous paste composed of siliceous, alkali and metal oxides to metal surfaces such as copper, iron, silver and gold, creating a unique combination of light and transparency.

Gabriella Gabrini

Gabriella Gabrini is a skilled enamel artisan who lives and works in the Northern Italian city of Padua. She graduated as a ceramist from the School of Art and the Academy of Fine Arts in Venice. After working in the studios of Medandri, Melotti and Fornasetti she started to work in Paolo De Poli’s workshop, to whom we owe the recovery of this particular ancient Italian art of enamel. She worked in his studio for 20 years. Since then, Gabriella has kept working with this technique and has continued to study and perfect it through her complicated and detailed works. She has since opened her own studio. In 2000 she was named Officer of Merit of the Italian Republic by the then President of the Republic, Carlo Azeglio Ciampi, for her commitment and dedication to artistic craftsmanship.

Over the centuries, Liverino has been evolving, renewing and growing, ensuring the perpetuation of innovation and a continuous drive forwards. The story of Liverino is one of rich artisanal tradition, of artisan’s voices, machines and instruments. This rich history lives on through the company’s knowledge of techniques of coral processing passed down from generation to generation of skilful artisans.

Enzo Liverino’s company transforms raw coral into finished and semi-finished artistic works. Vincenzo (Enzo) and his two sons Basilio and Andrea currently manage the company. They have always remained faithful to the tradition and dexterity of the craft while striving to invest in innovation. The company transforms raw coral into finished or semi-finished works, which are then put into the skillful hands of artisans in companies such as Bulgari, Gucci and others. Each piece produced by Liverino is unique, thanks to the great skill of the passionate artisans who for over a century have dedicated themselves with the same passion and attention to the processing of the most precious coral. To start with, raw coral is chosen, washed, and studied to decide the use based on its shape. The coral is then cut and divided by size, colour and quality. It can be rounded, perforated to be threaded or engraved with a burin, according to the carver's imagination. Given the extreme rarity of the material, each operation is carried out with great respect to nature. In order to not impoverish the reproduction and growth of the species, only the largest coral branches are collected by the divers during the fishing phase.

To start with, raw coral is chosen, washed and studied to decide the use based on its shape. The coral is then cut and divided by size, colour and quality. It can be rounded, perforated to be threaded or engraved with a burin, according to the carver's imagination. Given the extreme rarity of the material, each operation is carried out with respect for nature and, in order not to impoverish the reproduction and growth of the species, only the largest branches are collected by the divers during the fishing phase.

Enzo Liverino’s company transforms raw coral into finished and semi-finished artistic works. Vincenzo (Enzo) and his two sons Basilio and Andrea currently manage the company. They have always remained faithful to the tradition and dexterity of the craft while striving to invest in innovation. The company transforms raw coral into finished or semi-finished works, which are then put into the skillful hands of artisans in companies such as Bulgari, Gucci and others. Each piece produced by Liverino is unique, thanks to the great skill of the passionate artisans who for over a century have dedicated themselves with the same passion and attention to the processing of the most precious coral.

Enzo Liverino S.r.l.

Via Montedoro 61 80059 Torre del Greco (NA)
+39 081 8811225
info@liverino1894.com
www.liverino1894.com

Enzo Liverino S.r.l.

Via Montedoro 61 80059 Torre del Greco (NA)
+39 081 8811225
info@liverino1894.com
www.liverino1894.com

To start with, raw coral is chosen, washed and studied to decide the use based on its shape. The coral is then cut and divided by size, colour and quality. It can be rounded, perforated to be threaded or engraved with a burin, according to the carver's imagination. Given the extreme rarity of the material, each operation is carried out with respect for nature and, in order not to impoverish the reproduction and growth of the species, only the largest branches are collected by the divers during the fishing phase.

Enzo Liverino

Heir to a family tradition and shop founded in 1894, Vincenzo (Enzo) Liverino has kept a precious coral crafting tradition alive. Enzo combines his artisanal expertise with entrepreneurial skills. He was the only Italian at the first world coral convention (Kochi, 1993) and Enzo spent ten years travelling between Naples and Taiwan. It was at this time that he refined the selection criteria for the raw material. Enzo introduced the manufacture of cameos and initiated the importation of Asian coral from Japan and started to export products to foreign countries.

From her childhood, glass and colour have always captured Gabriele Küstner’s interest. Working with her hands and creating something were also her main interests when growing up. A few years after Gabriele finished her education, her aunt told her that her ancestors (from her mother’s side) had been glassblowers on the island of Murano. They migrated later to the Baltic and took on different professions. Gabriele is the first in that line to work again with glass and typically in a very Italian style.

Painted glass canes of different diameters are cut into segments. They are then fused together. The surface is treated with diamond and stone wheels.

Gabriele Küstner

Gotmarstrasse 1 37073 Göttingen
+49 551 48 63 42
G.Kuestner@t-online.de
www.gabriele-kuestner.com

Gabriele Küstner

Gotmarstrasse 1 37073 Göttingen
+49 551 48 63 42
G.Kuestner@t-online.de
www.gabriele-kuestner.com

Painted glass canes of different diameters are cut into segments. They are then fused together. The surface is treated with diamond and stone wheels.

Gabriele Küstner

Gabriele Küstner works with fused glass mosaics, a process used by the Romans around 300 BC. Her teacher at the Staatliche Glasfachschule Hadamar, Josef Welzel, introduced her to the process. Following three years of studies as a glass grinder, Gabriele spent one year in Tennessee, at the Appalachian Center for Crafts. Here, she had access to glass blowing facilities and started to work on her technique of pulling glass cane. Upon returning to Germany in the mid-80s, Gabriele opened her own studio. She took a fusing class a few years later that introduced her to the possibilities of using china paint to colour glass rods from the outside. She worked on perfecting this process over the years aiming to render the fusing process visible. Her designs are inspired by the honeycomb pattern found in nature.

From her childhood, glass and colour have always captured Gabriele Küstner’s interest. Working with her hands and creating something were also her main interests when growing up. A few years after Gabriele finished her education, her aunt told her that her ancestors (from her mother’s side) had been glassblowers on the island of Murano. They migrated later to the Baltic and took on different professions. Gabriele is the first in that line to work again with glass and typically in a very Italian style.

Painted glass canes of different diameters are cut into segments. They are then fused together. The surface is treated with diamond and stone wheels.

Gabriele Küstner

Gotmarstrasse 1 37073 Göttingen
+49 551 48 63 42
G.Kuestner@t-online.de
www.gabriele-kuestner.com

Gabriele Küstner

Gotmarstrasse 1 37073 Göttingen
+49 551 48 63 42
G.Kuestner@t-online.de
www.gabriele-kuestner.com

Painted glass canes of different diameters are cut into segments. They are then fused together. The surface is treated with diamond and stone wheels.

Gabriele Küstner

Gabriele Küstner works with fused glass mosaics, a process used by the Romans around 300 BC. Her teacher at the Staatliche Glasfachschule Hadamar, Josef Welzel, introduced her to the process. Following three years of studies as a glass grinder, Gabriele spent one year in Tennessee, at the Appalachian Center for Crafts. Here, she had access to glass blowing facilities and started to work on her technique of pulling glass cane. Upon returning to Germany in the mid-80s, Gabriele opened her own studio. She took a fusing class a few years later that introduced her to the possibilities of using china paint to colour glass rods from the outside. She worked on perfecting this process over the years aiming to render the fusing process visible. Her designs are inspired by the honeycomb pattern found in nature.

Helena Schepens plays with shadows to produce surprising works with a poetic quality. Through her vessels, she creates refined patterns of openings that create an effect of light and shadow on the surface beneath. Natural forms of growth are often the starting point for Helena’s creations. Her structures reveal an image and shadow on the wall or on the surface surrounding it. Through her work Helena is attempting to emphasise the fundamental connection between two seemingly diametrically opposed concepts. Shadow and light, emptiness and fullness, to-be or not to-be, body and soul. Her works thus search to create a balance between two opposite poles.

Starting from a flat sheet of metal, an object is shaped by hand. Patterns are then cut and drilled out from the object, creating designs inspired by nature.

Helena Schepens

Antwerp
+32 499 62 58 98
info@helenaschepens.com
www.helenaschepens.com

Helena Schepens

Antwerp
+32 499 62 58 98
info@helenaschepens.com
www.helenaschepens.com

Starting from a flat sheet of metal, an object is shaped by hand. Patterns are then cut and drilled out from the object, creating designs inspired by nature.

Helena Schepens

Helena Schepens’ work contrasts a combination of concepts and artisanship. As a silversmith, she very much enjoys the process of raising three-dimensional volume from flat metal sheets, feeling the form develop in her hands. Helena studied Jewellery & Silversmithing at the Royal Academy of Fine Arts Antwerp (BA & MA, 2000-2004) and at the Royal College of Art in London (MA, 2004-2006). In 2007, she created her own studio in Antwerp. Her vessels create a refined pattern of openings producing an effect of light and shadow on the surface. She often derives the themes of her work from nature, such as the microscopic organisms that live in water, called diatoms. Their beautiful patterns became an endless source of inspiration for her silverwork.

Helena Schepens plays with shadows to produce surprising works with a poetic quality. Through her vessels, she creates refined patterns of openings that create an effect of light and shadow on the surface beneath. Natural forms of growth are often the starting point for Helena’s creations. Her structures reveal an image and shadow on the wall or on the surface surrounding it. Through her work Helena is attempting to emphasise the fundamental connection between two seemingly diametrically opposed concepts. Shadow and light, emptiness and fullness, to-be or not to-be, body and soul. Her works thus search to create a balance between two opposite poles.

Starting from a flat sheet of metal, an object is shaped by hand. Patterns are then cut and drilled out from the object, creating designs inspired by nature.

Helena Schepens

Antwerp
+32 499 62 58 98
info@helenaschepens.com
www.helenaschepens.com

Helena Schepens

Antwerp
+32 499 62 58 98
info@helenaschepens.com
www.helenaschepens.com

Starting from a flat sheet of metal, an object is shaped by hand. Patterns are then cut and drilled out from the object, creating designs inspired by nature.

Helena Schepens

Helena Schepens’ work contrasts a combination of concepts and artisanship. As a silversmith, she very much enjoys the process of raising three-dimensional volume from flat metal sheets, feeling the form develop in her hands. Helena studied Jewellery & Silversmithing at the Royal Academy of Fine Arts Antwerp (BA & MA, 2000-2004) and at the Royal College of Art in London (MA, 2004-2006). In 2007, she created her own studio in Antwerp. Her vessels create a refined pattern of openings producing an effect of light and shadow on the surface. She often derives the themes of her work from nature, such as the microscopic organisms that live in water, called diatoms. Their beautiful patterns became an endless source of inspiration for her silverwork.

Helena Schepens plays with shadows to produce surprising works with a poetic quality. Through her vessels, she creates refined patterns of openings that create an effect of light and shadow on the surface beneath. Natural forms of growth are often the starting point for Helena’s creations. Her structures reveal an image and shadow on the wall or on the surface surrounding it. Through her work Helena is attempting to emphasise the fundamental connection between two seemingly diametrically opposed concepts. Shadow and light, emptiness and fullness, to-be or not to-be, body and soul. Her works thus search to create a balance between two opposite poles.

Starting from a flat sheet of metal, an object is shaped by hand. Patterns are then cut and drilled out from the object, creating designs inspired by nature.

Helena Schepens

Antwerp
+32 499 62 58 98
info@helenaschepens.com
www.helenaschepens.com

Helena Schepens

Antwerp
+32 499 62 58 98
info@helenaschepens.com
www.helenaschepens.com

Starting from a flat sheet of metal, an object is shaped by hand. Patterns are then cut and drilled out from the object, creating designs inspired by nature.

Helena Schepens

Helena Schepens’ work contrasts a combination of concepts and artisanship. As a silversmith, she very much enjoys the process of raising three-dimensional volume from flat metal sheets, feeling the form develop in her hands. Helena studied Jewellery & Silversmithing at the Royal Academy of Fine Arts Antwerp (BA & MA, 2000-2004) and at the Royal College of Art in London (MA, 2004-2006). In 2007, she created her own studio in Antwerp. Her vessels create a refined pattern of openings producing an effect of light and shadow on the surface. She often derives the themes of her work from nature, such as the microscopic organisms that live in water, called diatoms. Their beautiful patterns became an endless source of inspiration for her silverwork.

Jennifer Hickey is drawn to the beauty and subtlety of the natural world. Themes of fragility, ephemerality and translucency are central to her work. It is the rituals of making, the physical rhythms, the process and time involved that are the central aspects of her practice. The natural, ethereal properties of her primary materials, porcelain and bone china, demand particular discipline and a delicacy that is a necessary component of the finished pieces.

Jennifer makes hundreds of petal like ceramic pieces that are then stitched with translucent thread to form her sculpture. The slowness and repetition of her process are essential components of the finished pieces.

Jennifer Hickey

Dublin
Jennynihici@hotmail.com
www.jenniferhickey.com

Jennifer Hickey

Dublin
Jennynihici@hotmail.com
www.jenniferhickey.com

Jennifer makes hundreds of petal like ceramic pieces that are then stitched with translucent thread to form her sculpture. The slowness and repetition of her process are essential components of the finished pieces.

Jennifer Hickey

Jennifer Hickey is a ceramic artist based in Ireland. She studied ceramics at the National College of Art and Design, Dublin, and has been working primarily with porcelain and bone china for a number of years. She works from a small garden studio in her Dublin home that is a constant source of inspiration. Jennifer has exhibited nationally and internationally. Her work is included in the National Museum of Ireland Collection, The State Art Collection of Ireland, and in numerous public and private collections.

Jérôme’s inspiration came from a friend who drew him an abstract form in pencil made of fast and random lines in which he found new forms of inspiration. Jérôme wanted to use this creative principle with sculpture. What pleases him with this work is the illusion of matter and its physical limit. Emptiness then enhances the fullness and the wood takes the form of earth.

Jérôme Blanc cuts pieces of green wood weighing a few kilos. He finds the moist wood easier to work with. He works the wood extensively on a lathe before it reaches its final form. Hours are spent hollowing out the pieces, eventually revealing sculptural shapes weighing only a few ounces.

Jérôme Blanc

5, Simon-Durand 1227 Carouge
+41 788455001
jb@jeromeblanc.ch
www.jeromeblanc.ch

Jérôme Blanc

5, Simon-Durand 1227 Carouge
+41 788455001
jb@jeromeblanc.ch
www.jeromeblanc.ch

Jérôme Blanc cuts pieces of green wood weighing a few kilos. He finds the moist wood easier to work with. He works the wood extensively on a lathe before it reaches its final form. Hours are spent hollowing out the pieces, eventually revealing sculptural shapes weighing only a few ounces.

Jérôme Blanc

Jérôme Blanc was born and grew up in Geneva, Switzerland. He studied woodworking and cabinetmaking for five years at the School of Arts and Crafts in Geneva, but it was not until a trip to Australia that he was introduced to woodturning. This encounter enticed him closer to woodwork. He trained as a woodturner in Australia and opened a woodworking, sculpture and woodturning business when he returned to Geneva. In his approach, Jérôme Blanc truly belongs to his time. A time concerned with ecology that in Jérôme’s opinion could benefit from a return to simplicity. The contemporary environmental issues that preoccupy the sculptor are reflected in his creations. Fundamentally, Jérôme creates pure and simple shapes made from wood, a natural element that comes from the earth and can return to the earth.

Ludwig Vogelgesang takes inspiration from the very materials he works with. His creative drive is born from his emotional response to the materials that form the essence of his work, as much materially as conceptually. He continuously seeks to understand the material, since no two pieces of wood are the same. In order to be faithful to the unique nature of the objects he creates, Ludwig immerses himself in the story of the object in order to bring out the most fitting colours, tonalities and shades.

Ludwig & Dominique have focused on the aesthetics and refinement of Art Deco since the early 1970s, at a time when the style was still arcane and accessible only to an elite group of connoisseurs. Established in Paris in 1980, and driven by a passion for the arts, Ludwig & Dominique restore high quality furniture for the most esteemed decorators, art galleries, museums, collectors and auction houses.

This jewellery cabinet has been made using traditional cabinetmaking tools and techniques.

Ludwig & Dominique have focused on the aesthetics and refinement of Art Deco since the early 1970s, at a time when the style was still arcane and accessible only to an elite group of connoisseurs. Established in Paris in 1980, and driven by a passion for the arts, Ludwig & Dominique restore high quality furniture for the most esteemed decorators, art galleries, museums, collectors and auction houses.

Ludwig & Dominique

2ter passage Ramey 75018 Paris
+33 1 42 59 81 15
contact@ludwigetdominique.com
www.ludwigetdominique.com

Ludwig & Dominique

2ter passage Ramey 75018 Paris
+33 1 42 59 81 15
contact@ludwigetdominique.com
www.ludwigetdominique.com

This jewellery cabinet has been made using traditional cabinetmaking tools and techniques.

Ludwig Vogelgesang

Cabinet-maker Ludwig Vogelgesang draws his inspiration from the raw materials he uses. It triggers the emotion, the desire and the drive to create. Wood is the essence of his work. Every day through his work, he learns more about the power of nature and its nobility. Ludwig is precise in his movements, having repeated them over and over again his gestures are accurate, observed and have been repeated countless times, pursing the most adequate and mastered technique. This experience permits him to work wood and furniture in a controlled manner that remains natural. Ludwig is an internationally recognised artisan who has received numerous awards for the quality of his creative work and restoration of furniture. The French Minister awarded Ludwig the distinction of «Master of Art» in 2010 for Culture and Communication.

This classically shaped polychrome ceramic vase is placed on top of a table with a polished aluminium base and a ceramic top. The vase holds a bouquet of flowers with bronze stems and scarabs.

Giampaolo Bertozzi and Stefano Dal Monte Casoni founded Bertozzi & Casoni in 1980 in Imola, Italy. From their early studies at the Ceramic Art Institute of Faenza, their interests gravitated towards experimenting with sculpture, seeing in ceramics the possibility of painted sculpture. For almost two decades, they worked on creating innovative designs employing traditional methods of production such as majolica. Towards the end the 80s and the start of the 90s, they started to experiment with materials driven from industry. Following their “Scegli il Paradiso” project in 1997, that reached dimensional and creative heights not earlier achieved, Bertozzi & Casoni would from then on almost only use materials driven from industry.

Polychrome ceramics are created by using three or more coloured slips to decorate the handmade ceramic.

Giampaolo Bertozzi and Stefano Dal Monte Casoni founded Bertozzi & Casoni in 1980 in Imola, Italy. From their early studies at the Ceramic Art Institute of Faenza, their interests gravitated towards experimenting with sculpture, seeing in ceramics the possibility of painted sculpture. For almost two decades, they worked on creating innovative designs employing traditional methods of production such as majolica. Towards the end the 80s and the start of the 90s, they started to experiment with materials driven from industry. Following their “Scegli il Paradiso” project in 1997, that reached dimensional and creative heights not earlier achieved, Bertozzi & Casoni would from then on almost only use materials driven from industry.

Bertozzi & Casoni S.r.l.

via Colombarotto 28 40026 Imola
+39 0542 640136
info@bertozziecasoni.it
www.bertozziecasoni.it

Bertozzi & Casoni S.r.l.

via Colombarotto 28 40026 Imola
+39 0542 640136
info@bertozziecasoni.it
www.bertozziecasoni.it

Polychrome ceramics are created by using three or more coloured slips to decorate the handmade ceramic.

Bertozzi & Casoni

Giampaolo Bertozzi and Stefano Dal Monte Casoni founded Bertozzi & Casoni in 1980 in Imola, Italy. From their early studies at the Ceramic Art Institute of Faenza, their interests gravitated towards experimenting with sculpture, seeing in ceramics the possibility of painted sculpture. For almost two decades, they worked on creating innovative designs employing traditional methods of production such as majolica. Towards the end the 80s and the start of the 90s, they started to experiment with materials driven from industry. Following their “Scegli il Paradiso” project in 1997, that reached dimensional and creative heights not earlier achieved, Bertozzi & Casoni would from then on almost only use materials driven from industry.

On a cold December day, Linda Nieuwstad took a train and went to visit a small town called Weesp near Amsterdam. Upon arriving, she walked through the town and eventually wandered into the city hall that also houses a ceramics museum on its second floor. In this collection of works ranging from 1760 to 1770, Linda could see tulips, pansies, primroses, roses, cornflowers, daffodils and many other varieties of flowers decorating ancient porcelain plates. She took a number of notes and photos and then had to leave to catch her train. A few months later, she decided to make a bouquet based on this experience. When the bouquet was finished, Linda returned to Weesp and brought her bouquet with her. A friendly man at the reception of the City Hall allowed her to take some pictures of her bouquet in the hall.

Linda bends her steel frames by hand then welds the separate parts together. Linda then cuts leaves and petals out of truck tarp and gives them a final touch with details in wool, velvet or paper. Her flowers are 100% handmade and that is why they look alive.

Linda Nieuwstad

de Wingerd 2 3951 XK Maarn
+31 633642718
info@lindanieuwstad.nl
lindanieuwstad.nl

Linda Nieuwstad

de Wingerd 2 3951 XK Maarn
+31 633642718
info@lindanieuwstad.nl
lindanieuwstad.nl

Linda bends her steel frames by hand then welds the separate parts together. Linda then cuts leaves and petals out of truck tarp and gives them a final touch with details in wool, velvet or paper. Her flowers are 100% handmade and that is why they look alive.

Linda Nieuwstad

Linda Nieuwstad’s flowers are larger than life. Her forget-me-nots are as large as breakfast plates, her roses can measure the size of truck tires and you can sit underneath her daffodils. She started to make large sized flowers when she visited an old museum in the Netherlands full of flower paintings from the 18th century. She dreamed of living inside the paintings, and she has been making large sized flowers ever since. Over the past few years, Linda has built up a reputation as a creator of luxurious floral still-lifes made of explicitly industrial materials such as plastic, textile, foam rubber, PVS and steel. To Linda, the underlying symbolism of the individual flowers is of less importance than the general significance of a bouquet as a gesture of pleasure or sympathy.

Contrary to what one could assume given its name, gilded leather is not worked with gold leaf but rather with layers of silver leaf. In order for the silver not to oxidise, layers of varnish are applied, lending it its final golden colour. This delicate and meticulous technique of decorating leather dates back to the 6th century. Gilded leather can be applied to numerous objects such as bags, chairs and screens. A bag alone can take more than 50 hours of work to complete. Sebastiaan van Soest’s aim is to preserve the gilded leather craft as well as to restore gilded leather pieces.

This leather has been gilded with silver leaf, and then lacquered with a golden yellow varnish. A mould is used to emboss the gilded leather that is then painted by hand. Based on industry standards, only water based paints and varnishes are used to decorate the leather.

Goudleer-atelier Van Soest

Fruitlaan 24, 2292 BB Wateringen
+31 610 610 174
info@goudleermakers.nl
www.goudleer.com

Goudleer-atelier Van Soest

Fruitlaan 24, 2292 BB Wateringen
+31 610 610 174
info@goudleermakers.nl
www.goudleer.com

This leather has been gilded with silver leaf, and then lacquered with a golden yellow varnish. A mould is used to emboss the gilded leather that is then painted by hand. Based on industry standards, only water based paints and varnishes are used to decorate the leather.

Sebastiaan van Soest

Sebastiaan van Soest is the last gilded leather-worker in the Netherlands. The craft was transmitted from father to son and Sebastiaan literally grew up among gilded leather. Wherever his parents went to work, they would take Sebastiaan and his sister along. In the 90s, the workshop created a gilded leather room for a replica of Huis ten Bosch at the Holland Village in Japan. That was the first time that Sebastiaan would participate in manufacturing gilded leather. A few years after his father passed away, Sebastiaan dedicated himself to this craft, wishing to preserve the unique knowhow handed down by his parents. He is the owner and manager of Goudleeratelier Van Soest. Sebastiaan’s mission is to breathe new life into gilded leather and give it a modern look and application.

Pascal Oudet’s works invite the viewer to explore the history of the tree from which the wood originated. The history of the sometimes centuries-old trees can be traced through the fluctuating width of the grain that has become even more apparent after Pascal’s treatment of the wood. Each piece is as unique in its creation as in its natural history.

A trunk of oak is turned on a lathe until it is very thin then sandblasted until the wood resembles lace fabric. The black/grey piece has been ebonised through a natural reaction with wood tannins that preserve the natural contrasting colour between heartwood and sapwood, which react differently, thus leading to black or grey. Both pieces are left as natural as possible, with just a protective finish.

Pascal Oudet

21 rue du Moulin 38570 Goncelin
+33 4 76 13 26 20
pascal.oudet@laposte.net
www.lavieenbois.com

Pascal Oudet

21 rue du Moulin 38570 Goncelin
+33 4 76 13 26 20
pascal.oudet@laposte.net
www.lavieenbois.com

A trunk of oak is turned on a lathe until it is very thin then sandblasted until the wood resembles lace fabric. The black/grey piece has been ebonised through a natural reaction with wood tannins that preserve the natural contrasting colour between heartwood and sapwood, which react differently, thus leading to black or grey. Both pieces are left as natural as possible, with just a protective finish.

Pascal Oudet

Formerly an electrical engineer, Pascal Oudet changed career path towards one of wood-turning about ten years ago. Pascal perfected a technique of sandblasting turned wood to a quasi-transparent degree, similar to the texture of lace fabric. He has been practising this technique for about twelve years but it took him around half of this time to perfect it. He is currently still the only artisan to master this technique in France. Pascal is the president of l’Association Française des Tourneurs d’Art sur Bois (French Association of Art Wood Turners) (AFTAB). Pascal’s works have received national and international recognition and have been exhibited internationally. In 2012, he obtained the Grand Prix de la Création de la Ville de Paris.

Rethinking granulation was an integral part of David Huycke's doctoral work and thesis, “The metamorphic ornament – Rethinking granulation”. David investigated the possibilities of transforming an old goldsmithing technique, granulation, into sculptural silverware. This ancient technique usually used for jewellery work creates small metal balls to decorate surfaces of objects. David investigated how rather than using this technique to decorate the surface of his sculptures, it could become the actual surface of the sculpture. Granulation thus became the subject of his sculptures and inspiration for new ones.

The objects are decorated with silver spheres using the technique of granulation. Granulation is a decorative technique in goldsmith art where little spheres (granules) decorate a surface.

The objects are decorated with silver spheres using the technique of granulation. Granulation is a decorative technique in goldsmith art where little spheres (granules) decorate a surface.

David Huycke

www.davidhuycke.com

David Huycke

www.davidhuycke.com

The objects are decorated with silver spheres using the technique of granulation. Granulation is a decorative technique in goldsmith art where little spheres (granules) decorate a surface.

David Huycke

David Huycke is a Belgian silversmith artisan and professor at PXL-MAD School of Arts and at Hasselt University. He studied jewellery design and silversmith work at the Saint-Lucas School of Arts in Antwerp. Since 1993, David has worked as an independent artisan in the field of the sculptural art-objects. In 2010, he finished his PhD in Arts with the project, “The Metamorphic Ornament: Re-Thinking Granulation, a practice-based research on the contemporary artistic relevance of the ancient technique of granulation”. David’s current research focuses on the meaning of material-surface in the contemporary silver object. His work is shown in galleries and museums worldwide and features in permanent collections such as in the Design Museum in Ghent, the Röhsska Museum in Gothenburg, the Indianapolis Museum of Art, the V&A in London and others.

Rethinking granulation was an integral part of David Huycke's doctoral work and thesis, “The metamorphic ornament – Rethinking granulation”. David investigated the possibilities of transforming an old goldsmithing technique, granulation, into sculptural silverware. This ancient technique usually used for jewellery work creates small metal balls to decorate surfaces of objects. David investigated how rather than using this technique to decorate the surface of his sculptures, it could become the actual surface of the sculpture. Granulation thus became the subject of his sculptures and inspiration for new ones.

The objects are decorated with silver spheres using the technique of granulation. Granulation is a decorative technique in goldsmith art where little spheres (granules) decorate a surface.

The objects are decorated with silver spheres using the technique of granulation. Granulation is a decorative technique in goldsmith art where little spheres (granules) decorate a surface.

David Huycke

www.davidhuycke.com

David Huycke

www.davidhuycke.com

The objects are decorated with silver spheres using the technique of granulation. Granulation is a decorative technique in goldsmith art where little spheres (granules) decorate a surface.

David Huycke

David Huycke is a Belgian silversmith artisan and professor at PXL-MAD School of Arts and at Hasselt University. He studied jewellery design and silversmith work at the Saint-Lucas School of Arts in Antwerp. Since 1993, David has worked as an independent artisan in the field of the sculptural art-objects. In 2010, he finished his PhD in Arts with the project, “The Metamorphic Ornament: Re-Thinking Granulation, a practice-based research on the contemporary artistic relevance of the ancient technique of granulation”. David’s current research focuses on the meaning of material-surface in the contemporary silver object. His work is shown in galleries and museums worldwide and features in permanent collections such as in the Design Museum in Ghent, the Röhsska Museum in Gothenburg, the Indianapolis Museum of Art, the V&A in London and others.

The object is made of blown glass canes containing metal oxides. The hollow glass “straight lines” are broken up into smaller units, bundled and melted together. This unit of fragile structural layers is then paired with another piece in ceramic. Subsequently, the two sides are twisted together with thin copper wire.

Ida Wieth

skovgaardsgade 3, godsbanen - spor 3 8000 Aarhus
+45 31571175
idawieth@gmail.com
idawieth.com

Ida Wieth

skovgaardsgade 3, godsbanen - spor 3 8000 Aarhus
+45 31571175
idawieth@gmail.com
idawieth.com

The object is made of blown glass canes containing metal oxides. The hollow glass “straight lines” are broken up into smaller units, bundled and melted together. This unit of fragile structural layers is then paired with another piece in ceramic. Subsequently, the two sides are twisted together with thin copper wire.

Ida Wieth

Ida Wieth was born in Copenhagen, Denmark in 1983. She studied glassblowing at the Kosta Glass School in Sweden. In 2009, she graduated with a Master of Fine Art in glass from the Edinburgh College of Art in Scotland. She works with glass and ceramics, and occasionally wood, concrete and metals, to create innovative pieces. Ida combines an artistically poetic approach with tangible artisanal knowledge of materials and techniques, resulting in highly expressive and emotional works. Her work has been shown in Scandinavia, Europe, Russia, Japan and USA.

In the middle of winter at the start of 2014, a heavy storm hit the west coast of Wales. The high sea pushed the pebbles and sand away revealing an ancient forest that would have been used around ten thousand years ago by hunter-gatherers. The images of this discovery were published by British media at the time and these images inspired Ashraf Hanna’s series.

Each piece is handmade starting from a pinch pot form slowly opened to shape the base. The form is then developed by adding soft slabs. Each layer has to dry sufficiently to support the next. The surface is then refined and the profile defined using metal scrappers and blades.