24.5cm h. x 12.5cm dia.
Glass
These vessels straddle utility and sculptural expression. My approach to glassblowing is as a process sensitive meditation—carving a moment of peace from a chaotic mind. I generally have an idea in mind when I begin but I am open to any possible mutation or variation that I may see along the way. I am satisfied with what I am doing when I feel in tune and the object resonates quietly. I draw on a range of esoteric references including East Asian and Scandinavian design, vernacular objects and everyday consumer products. In the Shadow Vases series, surfaces vibrate in soft tension with their surroundings—form becomes absence and presence simultaneously.
16cm h. x 15cm dia.
Glass
These vessels straddle utility and sculptural expression. My approach to glassblowing is as a process sensitive meditation—carving a moment of peace from a chaotic mind. I generally have an idea in mind when I begin but I am open to any possible mutation or variation that I may see along the way. I am satisfied with what I am doing when I feel in tune and the object resonates quietly. I draw on a range of esoteric references including East Asian and Scandinavian design, vernacular objects and everyday consumer products. In the Shadow Vases series, surfaces vibrate in soft tension with their surroundings—form becomes absence and presence simultaneously.
21.5cm h. x 13cm dia.
Glass
These vessels straddle utility and sculptural expression. My approach to glassblowing is as a process sensitive meditation—carving a moment of peace from a chaotic mind. I generally have an idea in mind when I begin but I am open to any possible mutation or variation that I may see along the way. I am satisfied with what I am doing when I feel in tune and the object resonates quietly. I draw on a range of esoteric references including East Asian and Scandinavian design, vernacular objects and everyday consumer products. In the Shadow Vases series, surfaces vibrate in soft tension with their surroundings—form becomes absence and presence simultaneously.
18cm h. x 13cm dia.
Glass
These vessels straddle utility and sculptural expression. My approach to glassblowing is as a process sensitive meditation—carving a moment of peace from a chaotic mind. I generally have an idea in mind when I begin but I am open to any possible mutation or variation that I may see along the way. I am satisfied with what I am doing when I feel in tune and the object resonates quietly. I draw on a range of esoteric references including East Asian and Scandinavian design, vernacular objects and everyday consumer products. In the Shadow Vases series, surfaces vibrate in soft tension with their surroundings—form becomes absence and presence simultaneously.
25cm h. x 11.5cm dia.
Glass
These vessels straddle utility and sculptural expression. My approach to glassblowing is as a process sensitive meditation—carving a moment of peace from a chaotic mind. I generally have an idea in mind when I begin but I am open to any possible mutation or variation that I may see along the way. I am satisfied with what I am doing when I feel in tune and the object resonates quietly. I draw on a range of esoteric references including East Asian and Scandinavian design, vernacular objects and everyday consumer products. In the Shadow Vases series, surfaces vibrate in soft tension with their surroundings—form becomes absence and presence simultaneously.
22cm h. x 11.5cm dia.
Glass
These vessels straddle utility and sculptural expression. My approach to glassblowing is as a process sensitive meditation—carving a moment of peace from a chaotic mind. I generally have an idea in mind when I begin but I am open to any possible mutation or variation that I may see along the way. I am satisfied with what I am doing when I feel in tune and the object resonates quietly. I draw on a range of esoteric references including East Asian and Scandinavian design, vernacular objects and everyday consumer products. In the Shadow Vases series, surfaces vibrate in soft tension with their surroundings—form becomes absence and presence simultaneously.
24cm h. x 13.5cm dia.
Glass
These vessels straddle utility and sculptural expression. My approach to glassblowing is as a process sensitive meditation—carving a moment of peace from a chaotic mind. I generally have an idea in mind when I begin but I am open to any possible mutation or variation that I may see along the way. I am satisfied with what I am doing when I feel in tune and the object resonates quietly. I draw on a range of esoteric references including East Asian and Scandinavian design, vernacular objects and everyday consumer products. In the Shadow Vases series, surfaces vibrate in soft tension with their surroundings—form becomes absence and presence simultaneously.
21.5cm h. x 14.5cm dia.
Glass
These vessels straddle utility and sculptural expression. My approach to glassblowing is as a process sensitive meditation—carving a moment of peace from a chaotic mind. I generally have an idea in mind when I begin but I am open to any possible mutation or variation that I may see along the way. I am satisfied with what I am doing when I feel in tune and the object resonates quietly. I draw on a range of esoteric references including East Asian and Scandinavian design, vernacular objects and everyday consumer products. In the Shadow Vases series, surfaces vibrate in soft tension with their surroundings—form becomes absence and presence simultaneously.
18cm h. x 14cm dia.
Glass
These vessels straddle utility and sculptural expression. My approach to glassblowing is as a process sensitive meditation—carving a moment of peace from a chaotic mind. I generally have an idea in mind when I begin but I am open to any possible mutation or variation that I may see along the way. I am satisfied with what I am doing when I feel in tune and the object resonates quietly. I draw on a range of esoteric references including East Asian and Scandinavian design, vernacular objects and everyday consumer products. In the Shadow Vases series, surfaces vibrate in soft tension with their surroundings—form becomes absence and presence simultaneously.
18.5cm h. x 15cm dia.
Glass
These vessels straddle utility and sculptural expression. My approach to glassblowing is as a process sensitive meditation—carving a moment of peace from a chaotic mind. I generally have an idea in mind when I begin but I am open to any possible mutation or variation that I may see along the way. I am satisfied with what I am doing when I feel in tune and the object resonates quietly. I draw on a range of esoteric references including East Asian and Scandinavian design, vernacular objects and everyday consumer products. In the Shadow Vases series, surfaces vibrate in soft tension with their surroundings—form becomes absence and presence simultaneously.
23cm h. x 12.5cm dia.
Glass
These vessels straddle utility and sculptural expression. My approach to glassblowing is as a process sensitive meditation—carving a moment of peace from a chaotic mind. I generally have an idea in mind when I begin but I am open to any possible mutation or variation that I may see along the way. I am satisfied with what I am doing when I feel in tune and the object resonates quietly. I draw on a range of esoteric references including East Asian and Scandinavian design, vernacular objects and everyday consumer products. In the Shadow Vases series, surfaces vibrate in soft tension with their surroundings—form becomes absence and presence simultaneously.
21.5cm h. x 14.5cm dia.
Glass
These vessels straddle utility and sculptural expression. My approach to glassblowing is as a process sensitive meditation—carving a moment of peace from a chaotic mind. I generally have an idea in mind when I begin but I am open to any possible mutation or variation that I may see along the way. I am satisfied with what I am doing when I feel in tune and the object resonates quietly. I draw on a range of esoteric references including East Asian and Scandinavian design, vernacular objects and everyday consumer products. In the Shadow Vases series, surfaces vibrate in soft tension with their surroundings—form becomes absence and presence simultaneously.
21cm h. x 13cm dia.
Glass
These vessels straddle utility and sculptural expression. My approach to glassblowing is as a process sensitive meditation—carving a moment of peace from a chaotic mind. I generally have an idea in mind when I begin but I am open to any possible mutation or variation that I may see along the way. I am satisfied with what I am doing when I feel in tune and the object resonates quietly. I draw on a range of esoteric references including East Asian and Scandinavian design, vernacular objects and everyday consumer products. In the Shadow Vases series, surfaces vibrate in soft tension with their surroundings—form becomes absence and presence simultaneously.
22.5cm h. x 13.5cm dia.
Glass
These vessels straddle utility and sculptural expression. My approach to glassblowing is as a process sensitive meditation—carving a moment of peace from a chaotic mind. I generally have an idea in mind when I begin but I am open to any possible mutation or variation that I may see along the way. I am satisfied with what I am doing when I feel in tune and the object resonates quietly. I draw on a range of esoteric references including East Asian and Scandinavian design, vernacular objects and everyday consumer products. In the Shadow Vases series, surfaces vibrate in soft tension with their surroundings—form becomes absence and presence simultaneously.
23cm h. x 12cm dia.
Glass
These vessels straddle utility and sculptural expression. My approach to glassblowing is as a process sensitive meditation—carving a moment of peace from a chaotic mind. I generally have an idea in mind when I begin but I am open to any possible mutation or variation that I may see along the way. I am satisfied with what I am doing when I feel in tune and the object resonates quietly. I draw on a range of esoteric references including East Asian and Scandinavian design, vernacular objects and everyday consumer products. In the Shadow Vases series, surfaces vibrate in soft tension with their surroundings—form becomes absence and presence simultaneously.
21.5cm h. x 14cm dia.
Glass
These vessels straddle utility and sculptural expression. My approach to glassblowing is as a process sensitive meditation—carving a moment of peace from a chaotic mind. I generally have an idea in mind when I begin but I am open to any possible mutation or variation that I may see along the way. I am satisfied with what I am doing when I feel in tune and the object resonates quietly. I draw on a range of esoteric references including East Asian and Scandinavian design, vernacular objects and everyday consumer products. In the Shadow Vases series, surfaces vibrate in soft tension with their surroundings—form becomes absence and presence simultaneously.
22.5cm h. x 14cm dia.
Glass
These vessels straddle utility and sculptural expression. My approach to glassblowing is as a process sensitive meditation—carving a moment of peace from a chaotic mind. I generally have an idea in mind when I begin but I am open to any possible mutation or variation that I may see along the way. I am satisfied with what I am doing when I feel in tune and the object resonates quietly. I draw on a range of esoteric references including East Asian and Scandinavian design, vernacular objects and everyday consumer products. In the Shadow Vases series, surfaces vibrate in soft tension with their surroundings—form becomes absence and presence simultaneously.
28.5cm h. x 12cm dia.
Glass
These vessels straddle utility and sculptural expression. My approach to glassblowing is as a process sensitive meditation—carving a moment of peace from a chaotic mind. I generally have an idea in mind when I begin but I am open to any possible mutation or variation that I may see along the way. I am satisfied with what I am doing when I feel in tune and the object resonates quietly. I draw on a range of esoteric references including East Asian and Scandinavian design, vernacular objects and everyday consumer products. In the Shadow Vases series, surfaces vibrate in soft tension with their surroundings—form becomes absence and presence simultaneously.
