Ceramics

Hitoshi Morimoto Bizen Jar 2006 (Hm0010)

D13.75" x H12"

Casey Zablocki 'Oboler, 2026'

Casey Zablocki's most recent exhibition captures a defining moment in his practice: the exploration of the elemental and the experimental. Signature woodfired forms—monumental vessels marked by the rugged character of the Montana landscape—are now recast with mineral-rich hues and locally-dug porcelain slips. As a result, pieces brim with subtlety and saturation. Terrestrial surfaces evolve into something unexpected and expressive. Here, Zablocki balances grounded materiality with a palette of possibility. Navigating the tension between restraint and resplendence, each totem is tinted with pigment and punctuated with texture, shifting the viewer's perceptions of light and form, of earth and the imagination. Above all, this exhibition showcases an artist suspended between ceramic tradition and terrain unfamiliar.

Casey Zablocki 'Millrun, 2026'

Casey Zablocki's most recent exhibition captures a defining moment in his practice: the exploration of the elemental and the experimental. Signature woodfired forms—monumental vessels marked by the rugged character of the Montana landscape—are now recast with mineral-rich hues and locally-dug porcelain slips. As a result, pieces brim with subtlety and saturation. Terrestrial surfaces evolve into something unexpected and expressive. Here, Zablocki balances grounded materiality with a palette of possibility. Navigating the tension between restraint and resplendence, each totem is tinted with pigment and punctuated with texture, shifting the viewer's perceptions of light and form, of earth and the imagination. Above all, this exhibition showcases an artist suspended between ceramic tradition and terrain unfamiliar.

Casey Zablocki 'Gilvin, 2026'

Casey Zablocki's most recent exhibition captures a defining moment in his practice: the exploration of the elemental and the experimental. Signature woodfired forms—monumental vessels marked by the rugged character of the Montana landscape—are now recast with mineral-rich hues and locally-dug porcelain slips. As a result, pieces brim with subtlety and saturation. Terrestrial surfaces evolve into something unexpected and expressive. Here, Zablocki balances grounded materiality with a palette of possibility. Navigating the tension between restraint and resplendence, each totem is tinted with pigment and punctuated with texture, shifting the viewer's perceptions of light and form, of earth and the imagination. Above all, this exhibition showcases an artist suspended between ceramic tradition and terrain unfamiliar.

Hitoshi Morimoto Bizen Jar 2006 (Hm0011)

UNGLAZED WOODFIRED STONEWARE 12"H x 13.75"DIA

Casey Zablocki 'Estara, 2026'

Casey Zablocki's most recent exhibition captures a defining moment in his practice: the exploration of the elemental and the experimental. Signature woodfired forms—monumental vessels marked by the rugged character of the Montana landscape—are now recast with mineral-rich hues and locally-dug porcelain slips. As a result, pieces brim with subtlety and saturation. Terrestrial surfaces evolve into something unexpected and expressive. Here, Zablocki balances grounded materiality with a palette of possibility. Navigating the tension between restraint and resplendence, each totem is tinted with pigment and punctuated with texture, shifting the viewer's perceptions of light and form, of earth and the imagination. Above all, this exhibition showcases an artist suspended between ceramic tradition and terrain unfamiliar.

Casey Zablocki 'Farholde, 2026'

Casey Zablocki's most recent exhibition captures a defining moment in his practice: the exploration of the elemental and the experimental. Signature woodfired forms—monumental vessels marked by the rugged character of the Montana landscape—are now recast with mineral-rich hues and locally-dug porcelain slips. As a result, pieces brim with subtlety and saturation. Terrestrial surfaces evolve into something unexpected and expressive. Here, Zablocki balances grounded materiality with a palette of possibility. Navigating the tension between restraint and resplendence, each totem is tinted with pigment and punctuated with texture, shifting the viewer's perceptions of light and form, of earth and the imagination. Above all, this exhibition showcases an artist suspended between ceramic tradition and terrain unfamiliar.

Casey Zablocki 'Parabia Left, 2026'

Casey Zablocki's most recent exhibition captures a defining moment in his practice: the exploration of the elemental and the experimental. Signature woodfired forms—monumental vessels marked by the rugged character of the Montana landscape—are now recast with mineral-rich hues and locally-dug porcelain slips. As a result, pieces brim with subtlety and saturation. Terrestrial surfaces evolve into something unexpected and expressive. Here, Zablocki balances grounded materiality with a palette of possibility. Navigating the tension between restraint and resplendence, each totem is tinted with pigment and punctuated with texture, shifting the viewer's perceptions of light and form, of earth and the imagination. Above all, this exhibition showcases an artist suspended between ceramic tradition and terrain unfamiliar.

Casey Zablocki 'Parabia Right, 2026'

Casey Zablocki's most recent exhibition captures a defining moment in his practice: the exploration of the elemental and the experimental. Signature woodfired forms—monumental vessels marked by the rugged character of the Montana landscape—are now recast with mineral-rich hues and locally-dug porcelain slips. As a result, pieces brim with subtlety and saturation. Terrestrial surfaces evolve into something unexpected and expressive. Here, Zablocki balances grounded materiality with a palette of possibility. Navigating the tension between restraint and resplendence, each totem is tinted with pigment and punctuated with texture, shifting the viewer's perceptions of light and form, of earth and the imagination. Above all, this exhibition showcases an artist suspended between ceramic tradition and terrain unfamiliar.

Casey Zablocki 'Cantil, 2026'

Casey Zablocki's most recent exhibition captures a defining moment in his practice: the exploration of the elemental and the experimental. Signature woodfired forms—monumental vessels marked by the rugged character of the Montana landscape—are now recast with mineral-rich hues and locally-dug porcelain slips. As a result, pieces brim with subtlety and saturation. Terrestrial surfaces evolve into something unexpected and expressive. Here, Zablocki balances grounded materiality with a palette of possibility. Navigating the tension between restraint and resplendence, each totem is tinted with pigment and punctuated with texture, shifting the viewer's perceptions of light and form, of earth and the imagination. Above all, this exhibition showcases an artist suspended between ceramic tradition and terrain unfamiliar.

Casey Zablocki 'Lazul, 2026'

Casey Zablocki's most recent exhibition captures a defining moment in his practice: the exploration of the elemental and the experimental. Signature woodfired forms—monumental vessels marked by the rugged character of the Montana landscape—are now recast with mineral-rich hues and locally-dug porcelain slips. As a result, pieces brim with subtlety and saturation. Terrestrial surfaces evolve into something unexpected and expressive. Here, Zablocki balances grounded materiality with a palette of possibility. Navigating the tension between restraint and resplendence, each totem is tinted with pigment and punctuated with texture, shifting the viewer's perceptions of light and form, of earth and the imagination. Above all, this exhibition showcases an artist suspended between ceramic tradition and terrain unfamiliar.

Kansai Noguchi Jomon Yakishime Vase No.12 2024

Casey Zablocki 'Larimar, 2026'

Casey Zablocki's most recent exhibition captures a defining moment in his practice: the exploration of the elemental and the experimental. Signature woodfired forms—monumental vessels marked by the rugged character of the Montana landscape—are now recast with mineral-rich hues and locally-dug porcelain slips. As a result, pieces brim with subtlety and saturation. Terrestrial surfaces evolve into something unexpected and expressive. Here, Zablocki balances grounded materiality with a palette of possibility. Navigating the tension between restraint and resplendence, each totem is tinted with pigment and punctuated with texture, shifting the viewer's perceptions of light and form, of earth and the imagination. Above all, this exhibition showcases an artist suspended between ceramic tradition and terrain unfamiliar.

Celadon Vessel: Yeollimun Mixed-Clay Technique, 2023

This work is chosen by those who find significance in the moment when disciplined structure allows the material itself to speak. "The vessel seems less patterned than stratified, as though layers of earth had been drawn upward into form." Kim Yong Seop’s Celadon Vessel: Yeollimun Mixed-Clay Technique, 2023 reduces the visual language of Yeollimun to its most essential elements: clay, vertical rhythm, curvature and depth of colour. In contrast to related works in which cranes or other motifs enter the composition, this vessel contains no figurative intervention. Its subject is the movement already present within the material. That decision fundamentally changes how the work is encountered. The eye is not directed towards an image placed upon the surface, but towards the surface as evidence of formation. The mixed-clay pattern appears as bands, eddies and irregular tonal passages that run beneath the glaze. Dark and light areas meet without becoming entirely uniform, creating an impression of internal circulation. This quality can recall marble or veined stone, particularly in the deeper passages of blue-green and charcoal. Yet unlike stone, whose veining is geological and fixed, Yeo

Isabella: Femme Collection

This glazed and wheel-thrown ceramic piece displays an eye-catching openwork design. It owes its exterior to expert glazing in white satin for the body and black satin for the base. A beautiful example of artist Lynne Meade's craft and attention to detail. Not watertight Satin finish Ceramic: fired at cone 6, vitrified Signed by the artist Materials: Ceramic, Stoneware

Casey Zablocki 'Lapis, 2026'

Casey Zablocki's most recent exhibition captures a defining moment in his practice: the exploration of the elemental and the experimental. Signature woodfired forms—monumental vessels marked by the rugged character of the Montana landscape—are now recast with mineral-rich hues and locally-dug porcelain slips. As a result, pieces brim with subtlety and saturation. Terrestrial surfaces evolve into something unexpected and expressive. Here, Zablocki balances grounded materiality with a palette of possibility. Navigating the tension between restraint and resplendence, each totem is tinted with pigment and punctuated with texture, shifting the viewer's perceptions of light and form, of earth and the imagination. Above all, this exhibition showcases an artist suspended between ceramic tradition and terrain unfamiliar.

GRAND BAOBAB | Sculptural Ceramic

This sculptural ceramic belongs to Sandrine Herlin's Baobabs collection, born from childhood memories of Guinea-Conakry, where the baobab is the national emblem and where the artist spent part of her early years. Trained as an illustrator before turning to ceramics, Herlin builds each tree by coil and slab, techniques she keeps deliberately spontaneous so that an assumed unevenness and a living quality remain visible in the clay. Transform Your Space with Our GRAND BAOBAB Sculptural Ceramic A dense crown of slender white stoneware branches fans outward from a single ringed collar, each tip capped with a small cone of porcelain or terracotta-toned glaze, an echo of the baobab's flowers and fruit. Below the collar, the tapering trunk carries the marks of its own construction: horizontal ridges recalling growth bands, small incised motifs, and, toward the base, a scatter of raised ring-shaped impressions in the unglazed clay evoking bark and old scars. Materials: Stoneware, glazed earthenware, porcelain, gold leaf. Colours and finishes: Raw white/cream stoneware with porcelain and gilded accents Height (cm): H 136 Weight (kg): 11

Celadon Vessel: Paired Cranes in Raised Relief with Red Sun, 2024

This vessel is chosen by those who understand that restraint is not emptiness, but a disciplined decision about what must remain visible. “The sun holds its place while two cranes pass through the vastness of the glaze.” Created in 2024 by Kim Yong-seop, Master Ceramic Artisan of Icheon , this celadon vessel brings a small symbolic scene into relation with an unusually complete spherical body. The work is not organised as a decorated jar with a motif applied to its surface. Rather, the form itself becomes the condition within which the motif can exist: the rounded body provides sky, distance, horizonless space, and a quiet sense of enclosure. The vessel rises from a narrow foot into a broad, nearly globular volume. Instead of narrowing into a distinct neck, the shoulder continues upwards and closes around a recessed circular mouth. This decision removes the usual transition between body and neck, allowing the eye to travel over the surface without interruption. The object appears gathered into itself, as though its entire structure has been held within a single breath. This continuity is both visual and technical. A conventional neck can help stabilise the upper portion of a vessel

Celadon Vessel (Ho): Pine in Relief and Inlaid Crane Motif

It is chosen by those who recognize that true presence rarely announces itself. “A still world gathers beneath the glaze, where endurance and passage meet in luminous quiet.” This celadon jar by Kim Yong-Seop of Icheon is defined by a composure that feels both spare and exacting. Its near-spherical body rises without the reassurance of a pronounced neck, opening only slightly at the summit, as though the form had been drawn inward rather than extended outward. Such restraint is not merely aesthetic. In a vessel of this kind, the absence of a developed neck increases the difficulty of achieving stability in the kiln, and so the serenity of the final silhouette carries within it a hidden technical resolve. The surface is organised around an old pine rendered in embossed relief, its trunk and branches unfolding across the generous curve of the body with measured authority. This choice of motif is inseparable from the form itself. On so broad and continuous a field, the pine serves not as embellishment but as structure: it anchors the eye, distributes visual weight, and draws the gaze gradually around the vessel’s circumference. The composition therefore does not interrupt the jar’s ro

Celadon Double-Walled Openwork Vessel: Plum Blossom Motif, 2021

This vessel is chosen by those who recognise that the deepest beauty often emerges through patience, restraint, and quiet perseverance. “Within its flowering branches, emptiness becomes as eloquent as clay.” Master artisan Young-soo Kim's 2021 Celadon Double-Walled Openwork Vessel (Ho) transforms one of Korea's most enduring cultural symbols into a meditation on resilience. Rather than presenting the plum blossom as an isolated decorative motif, he allows the entire vessel to become a flowering tree, where trunk, branch, blossom and open air exist as one continuous composition. The plum blossom occupies a singular place within Korean visual culture because it blooms before spring has truly arrived. Appearing while snow may still cover the landscape, it has long symbolised steadfastness, moral integrity and renewal. Scholars associated it with quiet dignity; painters celebrated its restrained elegance; ceramic artists found within its delicate blossoms an expression of strength without excess. This vessel continues that lineage with remarkable clarity. Its structure is inseparable from its meaning. The demanding double-walled construction creates two independent ceramic bodies—an in