Arthur Vallin’s Testarossa Console pairs streamlined geometry with a lacquered wood and MDF construction that feels both contemporary and architectural. Horizontal ridges create a rhythmic play of shadow across the surface, giving the piece depth and movement despite its minimalist profile. The console embodies Vallin’s refined approach to proportion, offering a functional form that reads as a sculptural object.

This floor light from Chen Chen and Kai Williams unfurls like a botanical specimen rendered in brass, silver solder, agate, and calcite. Each illuminated form blooms from the sculptural stem, blending natural mineral textures with precise hand fabrication. The piece stands at the intersection of organic growth and engineered beauty.

Autumn Casey’s Castle is an imaginative sculptural figure built from steel, apoxy clay, fiberglass, resin, and pigment. The work blends whimsy and surrealism, evoking a creature that is both playful and slightly uncanny. Its handcrafted textures and bold silhouette exemplify Casey’s instinct for narrative-driven sculptural gestures.

Bower’s plant sculptures interpret an organic line multi-dimensionally, questioning the visual plane upon which our perception of reality is based. Allowing mirrored surfaces to confuse the dialectics of surface and background, contour and body, these works confuse the visual hierarchy of information, generating thrilling new possibilities in their re-ordering of depictive gestures.

Venezuelan-born and New York City-based artist Reinaldo Sanguino creates one-of-a-kind original ceramics, using clay as both structure and canvas. His ceramic pieces are known for their freely worked surfaces, variety of rich colors, and patterns, which are integral to his forms. Sanguino creates startling directional pieces that reference New York City’s ineffable energy.

This console asserts a clean silhouette that is unsettled by its richly worked textures. What appears as restraint at first glance gives way to an exuberant celebration of surface detail.

Inspired by the synergy between natural materials and innovative Mechanised processes, Studio Floris Wubben's creations reveal the magic that emerges when these two worlds collide. Using hand-built extrusion machines and a self-developed process, the studio crafts a diverse range of ceramic objects that seamlessly merge form and function. Each piece strikes a unique balance between the designer's vision and the influence of the machine, showcasing a harmonious interplay between material, machine, and maker.

Chris Wolston’s Medellin studio is a nexus point for the intersection of historical craft traditions that the artist has woven into a singular practice that is rooted in rigorous research and applied skill. This is especially apparent in his use of Mimbre, which, along with his team of specialized craftspeople, Wolston sculpts into forms that reference the art histories of Europe and the Americas - while finding a sense of true originality in his examination of centuries-old traditions.

Using multiple firings and a variety of glazes, Jane Yang D’Haene captures the memory of Korean Moon Jars in a series of planters that explore the past, present, and future through texture and color. Round, but not always the same shape; white, but not always the same color—each planter reflects the timeless fascination Moon Jars have inspired since the 17th century. Embodying simplicity and elegance, the series carries forward an enduring symbol of Korean identity.

Timeless modern ceramic shades are suspended vertically in space providing distinct dimmable illumination. The light is illuminated by 10 120V AC direct drive LED modules with no external driver needed. The light can be wired to a dimmer switch, providing smooth full-range dimming, and is compatible with most Triac and ELV dimmers.

Cacao by Seattle-based glass artist John Hogan reflects his celebrated mastery of material and optics. Hogan mesmerizes viewers by guiding their perception along hidden contours and directing their focus to his exquisite craftsmanship - transforming ordinary forms into captivating, indescribable objects. Hand-shaped with precision, this collectible glass artwork refracts and transforms light, creating an evolving visual presence that enhances any interior or design collection.

Venezuelan-born and New York City-based artist Reinaldo Sanguino creates one-of-a-kind original ceramics, using clay as both structure and canvas. His ceramic pieces are known for their freely worked surfaces, variety of rich colors, and patterns, which are integral to his forms. Sanguino creates startling directional pieces that reference New York City’s ineffable energy.

The Bembo Credenza integrates copper leather, walnut, and aged brass into a richly layered composition. Its sculpted surfaces and meticulous detailing highlight Orior’s legacy of craftsmanship. The piece feels both luxurious and grounded, merging material warmth with architectural clarity.

Each lamp is not simply a source of light—they are emissaries from a dream terrain, creatures conjured from the subconscious shoreline. Each animal form feels as if it wandered out of sleep and paused to glow. Their light doesn’t just illuminate; it seeps from some other reality, passing through invisible membranes between waking and dream.

Carved from Orange Calcite and Garnet Granite, this side table exemplifies Collings’ deep engagement with stone as a living material. The contrasting tones and crystalline structures give the piece a luminous depth. Its monolithic simplicity highlights the raw beauty embedded within each mineral.

Piet Mondrian's influence on modern abstraction inspired Lindsey's Drop System, where she used brass tubing and glass globes to explore the balance between rigidity and fluidity. The custom-configurable fixture elegantly plays with vertical and horizontal elements while offering various finishes for a unique collection.

This ceramic stool bursts with layered pink and orange glazes, animated by Sanguino’s energetic brushstrokes. Its cylindrical form becomes a sculptural surface for color exploration, blending spontaneity with craftsmanship.

Inspired by the synergy between natural materials and innovative Mechanised processes, Studio Floris Wubben's creations reveal the magic that emerges when these two worlds collide. Using hand-built extrusion machines and a self-developed process, the studio crafts a diverse range of ceramic objects that seamlessly merge form and function. Each piece strikes a unique balance between the designer's vision and the influence of the machine, showcasing a harmonious interplay between material, machine, and maker.

A handmade table lamp that pairs a graceful silhouette with eye-catching embellishment.  Calla’s shades are made using a modern variation on a centuries-old practice, which involves applying handmade glass details—in this case, rounded fins whose colors deepen when illuminated—to blown glass surfaces. Fitted with hand-finished brass details and a dim-to-warm bulb.

Adam Miller’s Bud Vase series features a variety of visual idioms taken from the Yucca desert where Miller and his family make their home. They are works of conceptual generosity and live in a scale that is highly personal and artifactual. With four variations, each of which takes on a piece of desert iconography, these vessels incorporate massive and timeless ideas in a small space.

The Strata is a sofa with a distinct expression of relaxation. It is a simplistic yet bold movement balancing the inner force of upholstery with the external forces of gravity, which results in a shape that could be the objectification of relaxation itself, encouraging you to do the same.

These lamps from Ben & Aja Blanc showcase the duo’s keen understanding of visual nuance and the subtextual potential of ceramic glaze. Layered and captivating, the Pen Bunny Lamp illuminates its own body, establishing its functional nature as a self-contained art viewing context.

Jogakbo Coffee Table continues D’Haene’s exploration of Korean bojagi through a union of solid oak and glazed ceramic tiles. Delicate color shifts and geometric arrangements evoke textile patchwork traditions. The table’s serene composition bridges craft heritage with contemporary minimalism.

Venezuelan-born and New York City-based artist Reinaldo Sanguino creates one-of-a-kind original ceramics, using clay as both structure and canvas. His ceramic pieces are known for their freely worked surfaces, variety of rich colors, and patterns, which are integral to his forms. Sanguino creates startling directional pieces that reference New York City’s ineffable energy.

Introducing the Privat Lampe II with welded chain links, a remarkable lighting creation designed by Franz West for Memphis in 1989. This statement lamp showcases a captivating fusion of art and functionality, embodying the iconic design aesthetics of the Memphis movement.

Bari Ziperstein pushes the boundaries of slab construction with innovative engineering methods, captivating the design trade, friends, and fans alike. With inventive shapes, unique glaze colors, and a fearless approach to scale, Ziperstein has produced a variety of intimately sized and architecturally scaled ceramic vases, vessels, lamps, and furniture. Each meticulously crafted piece is a limited edition of 28, exclusively available through The Future Perfect.

Form follows force. The Anton series explores the structural weight of light through cast materials, with adding new hues to the classic shape. Punctuated by the lamp, the internally lit face of the Anton holds light and reflects its surroundings.

Sculpted from richly layered Baja Onyx, this stone seat carries a commanding yet organic presence. Curved surfaces reveal intricate veining, creating a natural gradient of light and shadow. The work demonstrates Collings’ ability to transform geological mass into elegant, functional form.

The Zinc Bench, from Piet Hein Eek's range of outdoor furniture, is a great addition to any outdoor setting, and is a complementary seating option for Eek's Zinc Table.

There is an ancient theory that accounted for lunar phases in a different way than we do today. This theory held that the Moon was in fact flat. One side of the Moon was silvery-white, the other side was black, and it was the orbiting of this half-black, half-white Moon around the Earth that caused the lunar phases.

Using multiple firings and a variety of glazes, Jane Yang D’Haene captures the memory of Korean Moon Jars in a series of planters that explore the past, present, and future through texture and color. Round, but not always the same shape; white, but not always the same color—each planter reflects the timeless fascination Moon Jars have inspired since the 17th century. Embodying simplicity and elegance, the series carries forward an enduring symbol of Korean identity.

Each lamp is not simply a source of light—they are emissaries from a dream terrain, creatures conjured from the subconscious shoreline. Each animal form feels as if it wandered out of sleep and paused to glow. Their light doesn’t just illuminate; it seeps from some other reality, passing through invisible membranes between waking and dream.

OWE, designed by Christophe Delcourt, is an elegant reconciliation of concept and form through a straightforward set of curves and lines. Carrying on Delcourt’s practice of three letter names, OWE represents the search for a sound, reflecting, in the designer’s words, the “debt of comfort” that the work owes to its user. Available as an armchair or sofa, OWE combines an enveloping shape and an expertly crafted frame contained in a range of original fabrics from the Delcourt Textiles line.

Jason Miller’s Bauer is a pendant fixture made of stacked, concentric clusters of handblown tubular glass. The glass fades from dark to light, recalling the tonalities of earth-to-sky views, producing an ethereal, atmospheric effect.

“These organisms are classified as a kingdom, fungi, which is separate from the other eukaryotic life kingdoms of plants and animals.” The Fungus collection consists of glass vases inspired by the shapes, colors, and textures of fungi and molds. The result is a collection of uniquely functional objects, each vase capable of commanding attention within interior spaces.

Sanguino’s Ofrenda Table is a vibrant ceramic work supported by a wooden base, painted with expressive swirls of color. The table functions as both furniture and a sculptural canvas, showcasing his energetic painterly style. Each surface reveals a spontaneous interplay of gesture and glaze.

Form follows force. The Anton series explores the structural weight of light through cast materials. Punctuated by the lamp, the internally lit face of the Anton holds light and reflects its surroundings.

Using pattern, color, and texture to define physicality and weight, Charlap Hyman & Herrero’s collection of pillows for Figures in an Interior mimics the titular Édouard Vuillard painting’s focus on ornamentation and unmediated color. Utilizing recycled Japanese kimonos and French tapestries to make a stunning commentary on art history and contemporary design space, these pillows are subtle masterpieces of opticality and materiality.

Källemo’s Aluminium Armchair juxtaposes a sleek industrial frame with soft black cowhide cushions. The contrast between metal and natural hide creates a bold, modernist profile. The chair embodies the studio’s legacy of functional clarity and strong material presence.

This XL ceramic bench features Sanguino’s signature dynamic glaze work in green and blue tones. Its hand-painted surfaces create a rich visual rhythm across the form’s faceted geometry. The bench transforms functional seating into a bold chromatic sculpture.

Shore by Seattle-based glass artist John Hogan reflects his celebrated mastery of material and optics. Hogan mesmerizes viewers by guiding their perception along hidden contours and directing their focus to his exquisite craftsmanship - transforming ordinary forms into captivating, indescribable objects. Hand-shaped with precision, this collectible glass artwork refracts and transforms light, creating an evolving visual presence that enhances any interior or design collection.

The Spotted Smoke Vases Barron’s most elusive works—sculpted smoke, frozen fog, the trace of something that barely was. With surfaces that feel both celestial and earthen, they appear dusted in the atmospheres of alternate worlds.

Discover the distinctive Scrapwood Dining Chair by renowned sustainable artist and designer Piet Hein Eek. Crafted with repurposed materials, this chair embodies Eek's commitment to sustainability. Each piece showcases a unique color combination due to the found nature of the timber used, while the high gloss finish adds a touch of sophistication to this eco-friendly and character-filled dining chair.

118p is a single hand-blown glass globe paired with rechargeable table light hardware. It features three dimming levels and USB-C compatible charging. A 45-minute charge powers up to 8 hours of use at full brightness or up to 80 hours on the lowest setting.

Small Bench 10 features a compact ceramic form covered in Sanguino’s lively glaze palette. Its faceted silhouette and painted surfaces give the piece a playful sculptural presence.

This family of floor lamps proposes an interchangeable lighting solution attached to a marble block. The exercise is an attempt to provide minimal support for the linear lighting elements through the simple gesture of touching the marble base with an invisible magnetic connection. The result is a distilled composition of basic elements.

Influenced by French modernist designers and architects of the 1930s Claude Missir’s interiors and designs have a specific and recognizable narrative. They all encompass clean symmetries, neutral palettes, sophisticated materials, and minimalistic volumes. His Beirut studio has completed public and private projects internationally and has been collaborating with Nilufar Gallery since 2016.

Myungjin Kim’s Hoot & Bloom series explores the artist’s renowned exploration of owls as both an iconographic archetype and an ecological specificity. Rendered in terracotta and possessing a delicate range of color, these works are airy but substantial, presenting a poetic understanding of our world and the place of life within it.

Inspired by the formidable architecture of defense structures, the Stools showcase Floris Wubben’s unique approach to ceramic design. Combining manual intervention with mechanical extrusion, Wubben creates rugged, functional forms that echo the strength of bunkers while drawing on nostalgic memories of his childhood in the woods and dunes of Zeeland.

Kristin Victoria Barron’s work explores anthropomorphic iconography as an aspect of mythology and a foundational aesthetic gesture. Barron’s work is timeless in its applicability, and effortlessly stunning as a study in subtly captivating objects.

Using multiple firings and a variety of glazes, Jane Yang D’Haene captures the memory of Korean Moon Jars in a series of planters that explore the past, present, and future through texture and color. Round, but not always the same shape; white, but not always the same color—each planter reflects the timeless fascination Moon Jars have inspired since the 17th century. Embodying simplicity and elegance, the series carries forward an enduring symbol of Korean identity.

Vikram Goyal leads his studio practice with a commitment to mastering traditional metalworking techniques, which has led to reimagining them to serve a contemporary design vision. The studio’s singular approach to metalworking, with a focus on brass, includes daring innovations on time-honoured processes honed by artisans for generations.
 

Adam Miller’s Bud Vase series features a variety of visual idioms taken from the Yucca desert where Miller and his family make their home. They are works of conceptual generosity and live in a scale that is highly personal and artifactual. With four variations, each of which takes on a piece of desert iconography, these vessels incorporate massive and timeless ideas in a small space.

Reimagined for Bocci's 20th anniversary, 14 Geometric transforms the iconic 14 Series, extending their trademark suspension styles and offering an alternative to existing configurations. 14 introduces geometric compositions as a new way to mount Bocci's first catalogue piece, rethinking how these forms interact with spaces and extending the installation possibilities.
 

The Alpha chair is a solid-wood all-purpose stackable chair produced using the latest production technologies of shaped wooden furniture. The name Alpha is derived from the strong architectural gesture that gives the chair its inherent strength: the A shaped structure of the back legs and backrest that are organically and sensually moulded into one. The wood is sourced from FSC certified sources and workshops.

Wide Blue by Seattle-based glass artist John Hogan reflects his celebrated mastery of material and optics. Hogan mesmerizes viewers by guiding their perception along hidden contours and directing their focus to his exquisite craftsmanship - transforming ordinary forms into captivating, indescribable objects. Hand-shaped with precision, this collectible glass artwork refracts and transforms light, creating an evolving visual presence that enhances any interior or design collection.

Using pattern, color, and texture to define physicality and weight, Charlap Hyman & Herrero’s collection of pillows for Figures in an Interior mimics the titular Édouard Vuillard painting’s focus on ornamentation and unmediated color. Utilizing recycled Japanese kimonos and French tapestries to make a stunning commentary on art history and contemporary design space, these pillows are subtle masterpieces of opticality and materiality.
 

Autumn Casey acts as a one woman-recycling center to her immediate friends and family. Using the studio as a creative system to organize the flow of life’s contents that she finds herself surrounded by. She creates one of a kind illuminated sculptures that function as lamps. With her painterly approach to sculpture, she slowly handcrafts layers over time to create forms for light to shine through.

Small Bench 9 features a compact ceramic form covered in Sanguino’s lively glaze palette. Its faceted silhouette and painted surfaces give the piece a playful sculptural presence.

Using multiple firings and a variety of glazes, Jane Yang D’Haene captures the memory of Korean Moon Jars in a series of planters that explore the past, present, and future through texture and color. Round, but not always the same shape; white, but not always the same color—each planter reflects the timeless fascination Moon Jars have inspired since the 17th century. Embodying simplicity and elegance, the series carries forward an enduring symbol of Korean identity.

The Non Chair distills seating to its most essential lines, creating a minimalist silhouette with graphic simplicity. Its refined geometry offers quiet presence within any space, demonstrating Källemo’s dedication to understated design.

Raw and unpretentious, Gridlock is a series of lamps in the style of the Brutalist movement. Gridlock feels industrial in its straightforward, platonic forms and the repetitive efficiency of the grid; however, it is assembled entirely by hand from thousands of tiny brass parts. Philippe Malouin's tribute to the industry-inspired, labor-saving dreams of modernism is paid for in toil.

Square Table 25 pairs geometric structure with Sanguino’s expressive glazing. Bold color fields and gestural marks animate the tabletop, emphasizing the artist’s painterly approach to ceramic furniture.

Vikram Goyal leads his studio practice with a commitment to mastering traditional metalworking techniques, which has led to reimagining them to serve a contemporary design vision. The studio’s singular approach to metalworking, with a focus on brass, includes daring innovations on time-honoured processes honed by artisans for generations.

French designer Axel Chay finds inspiration for his work in the Mediterranean Sea, a place where he enjoys swimming. He aims to create sculptural pieces that possess a tangible presence. Through his use of evocative colors and sensual curves, he produces designs that are both modern and sculptural. Axel's projects, whether centered on art or design, showcase his deep affection for the Mediterranean.

Inspired by the formidable architecture of defense structures, the Stools showcase Floris Wubben’s unique approach to ceramic design. Combining manual intervention with mechanical extrusion, Wubben creates rugged, functional forms that echo the strength of bunkers while drawing on nostalgic memories of his childhood in the woods and dunes of Zeeland.

Formed as a single, continuous ceramic piece—an ambitious feat in scale and craftsmanship. Echoing the expressive freedom seen in prior collections (Wonkies), its dynamic form emerges through a dialogue between extruded pieces and hand building techniques. Sculptural yet functional, it captures the studio’s ongoing pursuit of innovation, where technical precision meets the human touch.

Evoked by the crystallization of dust. —What Time takes apart into the smallest of pieces, it puts back together once more. Seemingly armed with the purpose of beauty— The creator, representing absolute good, and therefore absolute beauty, —it is the nature of absolute beauty to want to express itself.— “As children, the arrangement of things to be reversed was a precept discovered through constructing block towers; and then knocking them to the ground. Destruction with the intent to rebuild.”

Chris Wolston’s Medellin studio is a nexus point for the intersection of historical craft traditions that the artist has woven into a singular practice that is rooted in rigorous research and applied skill. This is especially apparent in his use of Mimbre, which, along with his team of specialized craftspeople, Wolston sculpts into forms that reference the art histories of Europe and the Americas - while finding a sense of true originality in his examination of centuries-old traditions.
 

A slumped glass sconce designed to meld seamlessly into its surroundings. To create its delicate floral shape, sheets of cut glass are placed in a kiln over specially made plaster molds; as the kiln heats, gravity forces the malleable glass to drape over the molds. Fitted with hand-finished brass details and a side-by-side duo of dim-to-warm bulbs.

Hanging on a slant, Piet Hein Eek’s Oval Mirror proposes a visual staircase upon which a viewer can contextualize their own reflection within a space. Embracing innate movement within an incremental composition, the Oval Mirror is a fundamentally musical object, evoking the relationship between early modernism and jazz.

OWE, designed by Christophe Delcourt, is an elegant reconciliation of concept and form through a straightforward set of curves and lines. Carrying on Delcourt’s practice of three letter names, OWE represents the search for a sound, reflecting, in the designer’s words, the “debt of comfort” that the work owes to its user. Available as an armchair or sofa, OWE combines an enveloping shape and an expertly crafted frame contained in a range of original fabrics from the Delcourt Textiles line.

Swimming in the Mediterranean Sea, drawing and thinking. Today Antonio Aricò works in the field of Creativity designing new products and environments. Working with craftsmen and brands to create experiences that transport the mind of every person through a fantastic journey.

Monumental Totem Planter made of ceramic material for showcasing a plant. The hollow column is fitted with a bottom at two-thirds of its height, with a hole in it to discharge water. Available in three models. Specially developed colours available upon request.

Alchemy is not a strong enough term for Chris Wolston’s relationship to and use of metallurgy in his practice. Rather than rely on the mysticism of happenstance, Wolston rigorously defines his use of metals through the thorough examination of their properties, histories, and possibilities. Wolston finds the fundamental aspects of these objects - texture, color, and form - through planned processes, chemical reactions, and decisive gestures. While the resulting pieces may seem effortless, they are anything but. 

Seungjin Yang’s work lives inside of an aesthetic continuity that is as immediately identifiable as it is ceaselessly compelling. Using the universally recognizable signifier of the balloon, and deriving forms from childhood memories, Seungjin’s acclaimed Blowing series invites the viewer to physically engage with the purely hypothetical. These new works continue the artist’s ongoing exploration of a unique reality that is typified by bold colors and the pleasantly surprising stability of seemingly pliable materials.

The Kasbah Collection was born from a collaboration between the French duo Memòri Studio and master potter Houda El Oman. Each piece is made by the skilled craftswomen of the Moroccan Rif mountains and reflects the potters’ deep connection to their heritage. The designs pay homage to the land and its people. Cultivated in the potters' studio, the designs embody a timeless savoir-faire that blends traditional forms with contemporary relevance. Whether in a Marseille flat, a Moroccan home, or a California estate, Kasbah has a universal resonance that fits naturally into a range of interiors.

Chen Chen and Kai Williams have skillfully combined contrasting elements and materials to create a truly captivating collection of mirrors. Known as the Transition Mirrors, their name is inspired by the classification of silver as a "transition metal." These mirrors are meticulously crafted through a unique process, where a silver nitrate solution is carefully poured onto clear glass, creating a chemical bond with its surface. The defining feature of these mirrors lies at the contoured edge of the silver, where a deliberate point of fragility exists. This intentional design choice results in a moment of delicate beauty, adding an extraordinary touch to the overall construction.

The 141 series is crafted by pouring two ladlefuls of hot glass freehand over a curved rod to create two overlapping puddles. The rod is then lifted, and the puddles wing out into an unpredictable shape in a gesture that is both simple and cinematic at once. After this process, the rod is replaced with an LED light source. The 141 is meant to be hung as a single element or in clusters, with the irregular shapes conversing with one another.

The Capo series was initially designed for the Italian restaurant Capo in Shanghai, where the interior design concept was based on a basilica and possessed an old world charm of masonry enclosure appointed with handsomely crafted detailing. The chair series also takes on those qualities of heritage, where the simple and modern form is enriched with tailoring details that evoke old-world sensibilities. The Capo is a well-balanced equilibrium between sophistication and utility, between classic and contemporary aesthetic.

und Messing represents an accumulation of ideas collected over the last two years; disparate designs, sharing a material and a common sentiment. Each individual piece reveals the hand of its maker, evoking provenance through nuanced, tactile traces of the processes behind the finished form.

Experience the clearest embodiment of Barron’s Jungian inquiry through each sculpture. Here, animality is unmoored from zoology and tethered instead to instinct and symbol. These are not characters—they are psychic fragments, caught mid-transformation. Their surfaces suggest a geography of the unconscious: patinated, dream-streaked, and eerily familiar.

Autumn Casey acts as a one woman-recycling center to her immediate friends and family. Using the studio as a creative system to organize the flow of life’s contents that she finds herself surrounded by. She creates one of a kind illuminated sculptures that function as lamps. With her painterly approach to sculpture, she slowly handcrafts layers over time to create forms for light to shine through.

Inspired by Art Moderne, the Streamline Series encompasses curing forms and linear compositions emphasizing simplicity and modern elegance. Selene is a wall sconce composed of mold-blown faceted glass shown in enamel white and brass hardware. LEDs provide a warm directional light maximizing efficiency and vibrancy.

This collection of stools from Jane Yang D'haene elaborate on the artist’s vision of ceramics as possessing a corporeal physicality that evaluates the human presence in architectural environments. Using their center of gravity as a medium in and of itself, these works provoke an empathetic response to what is at once musculature and engineering. 

Ian Collings is an American sculptor and designer based in Ojai, CA, and Pavones, Costa Rica. His collections of stone sculptures and functional objects are influenced by his immersion in the natural world. Collings’ work can be viewed as a conversation between an artist and his environment.

Kristin Victoria Barron’s work explores anthropomorphic iconography as an aspect of mythology and a foundational aesthetic gesture. Barron’s work is timeless in its applicability, and effortlessly stunning as a study in subtly captivating objects.

The Zinc Table, from Piet Hein Eek's range of outdoor furniture, is a great addition to any outdoor setting. For complementary seating, Eek also offers a Zinc Bench.

Inspired by the synergy between natural materials and innovative Mechanised processes, Studio Floris Wubben's creations reveal the magic that emerges when these two worlds collide. Using hand-built extrusion machines and a self-developed process, the studio crafts a diverse range of ceramic objects that seamlessly merge form and function. Each piece strikes a unique balance between the designer's vision and the influence of the machine, showcasing a harmonious interplay between material, machine, and maker.

A study in balance and material tension, this suspended assemblage brings together hand-bound glass forms and a polished brass canopy shaped like a pooled reflection. Glass pendants—irregular, luminous, and almost botanical—hang from antique brass chains, each connection intentional and evocative of ritual. Adelman’s work here transcends lighting, suggesting a floating altar to process and impermanence.

Using multiple firings and a variety of glazes, Jane Yang D’Haene captures the memory of Korean Moon Jars from the past, present and future with her use of texture & color. Round but not always the same shape, white but not always the same color, Moon Jars have fascinated connoisseurs and artists since the 17th century. Embodying the aesthetics of simplicity and elegance, Moon Jars have often been associated with an indigenous Korean identity.

Using pattern, color, and texture to define physicality and weight, Charlap Hyman & Herrero’s collection of pillows for Figures in an Interior mimics the titular Édouard Vuillard painting’s focus on ornamentation and unmediated color. Utilizing recycled Japanese kimonos and French tapestries to make a stunning commentary on art history and contemporary design space, these pillows are subtle masterpieces of opticality and materiality.

The Waste Desk is Piet Hein Eek at his most harmonious; an object rich with a history of its own making but without obvious origin. Simultaneously constructed and crafted, scattered and composed, the waste desk demands multiple views of what might normally be merely functional and forgotten.

Kristin Victoria Barron’s work explores anthropomorphic iconography as an aspect of mythology and a foundational aesthetic gesture. Barron’s work is timeless in its applicability, and effortlessly stunning as a study in subtly captivating objects.

Yellow Chair 2 is a vivid ceramic piece enlivened by saturated yellow tones and expressive painterly marks. The chair’s sculptural presence underscores Sanguino’s ability to fuse functional form with exuberant color.

Ian Collings is an American sculptor and designer based in Ojai, CA, and Pavones, Costa Rica. His collections of stone sculptures and functional objects are influenced by his immersion in the natural world. Collings’ work can be viewed as a conversation between an artist and his environment.

This stool features bold yellow and orange glazing that flows across the ceramic surface. Energetic strokes and layered hues create a sense of movement around its cylindrical structure.

Evoked by the crystallization of dust. —What Time takes apart into the smallest of pieces, it puts back together once more. Seemingly armed with the purpose of beauty— The creator, representing absolute good, and therefore absolute beauty, —it is the nature of absolute beauty to want to express itself.— “As children, the arrangement of things to be reversed was a precept discovered through constructing block towers; and then knocking them to the ground. Destruction with the intent to rebuild.”

These stools exemplify this interplay between maker and machine, where deliberate interventions during the extrusion process create unique, twisted forms that go beyond what standard extrusion can achieve. These stools highlight this innovative approach, blending natural clay textures with the precision of machinery, resulting in distinctive pieces that mark the studio’s international presence.

This tall stool brings Sanguino’s vivid ceramic language into a vertical form. The hand-painted surface reveals layered gestures and spontaneous movement, enlivening the crisp geometry of the piece.

118s/sp is a single hand-blown glass pendant that can be wall or ceiling-mounted.

Adam Miller’s Bud Vase series features a variety of visual idioms taken from the Yucca desert where Miller and his family make their home. They are works of conceptual generosity and live in a scale that is highly personal and artifactual. With four variations, each of which takes on a piece of desert iconography, these vessels incorporate massive and timeless ideas in a small space.
 

Experience the clearest embodiment of Barron’s Jungian inquiry through each sculpture. Here, animality is unmoored from zoology and tethered instead to instinct and symbol. These are not characters—they are psychic fragments, caught mid-transformation. Their surfaces suggest a geography of the unconscious: patinated, dream-streaked, and eerily familiar.

Using pattern, color, and texture to define physicality and weight, Charlap Hyman & Herrero’s collection of pillows for Figures in an Interior mimics the titular Édouard Vuillard painting’s focus on ornamentation and unmediated color. Utilizing recycled Japanese kimonos and French tapestries to make a stunning commentary on art history and contemporary design space, these pillows are subtle masterpieces of opticality and materiality.

These stools exemplify this interplay between maker and machine, where deliberate interventions during the extrusion process create unique, twisted forms that go beyond what standard extrusion can achieve. These stools highlight this innovative approach, blending natural clay textures with the precision of machinery, resulting in distinctive pieces that mark the studio’s international presence.

Crafted from hand-painted paper and suspended like a thought in motion, this pendant is a visual poem. It stretches across space with a quiet intensity, suggesting not illumination, but transfiguration. A passage of light—not just in form, but in feeling.

XL Cylinder Stool 3 features swirling glaze compositions that wrap continuously around the ceramic form. The round silhouette becomes a canvas for Sanguino’s characteristically vibrant palette.

Ian Collings is an American sculptor and designer based in Ojai, CA, and Pavones, Costa Rica. His collections of stone sculptures and functional objects are influenced by his immersion in the natural world. Collings’ work can be viewed as a conversation between an artist and his environment.

Memorials to something unnamed but deeply felt, the Cenotaph Lamps hum with solemnity. They resemble monuments, yes, but also signal posts in a mapless dream. Their glow is not a beacon but a flicker—an invitation to pause at the edge of the unconscious and listen.

This cylindrical stool displays Sanguino’s signature bold brushwork in a series of layered glazes. Its animated surface transforms the piece into a dynamic, sculptural object.

118t is a single hand-blown glass pendant used with the table light hardware, which includes an integral dimming system housed within a sleek brass cylinder.

These stools exemplify this interplay between maker and machine, where deliberate interventions during the extrusion process create unique, twisted forms that go beyond what standard extrusion can achieve. These stools highlight this innovative approach, blending natural clay textures with the precision of machinery, resulting in distinctive pieces that mark the studio’s international presence.

This tall stool brings Sanguino’s vivid ceramic language into a vertical form. The hand-painted surface reveals layered gestures and spontaneous movement, enlivening the crisp geometry of the piece.

Glint by Seattle-based glass artist John Hogan reflects his celebrated mastery of material and optics. Hogan mesmerizes viewers by guiding their perception along hidden contours and directing their focus to his exquisite craftsmanship - transforming ordinary forms into captivating, indescribable objects. Hand-shaped with precision, this collectible glass artwork refracts and transforms light, creating an evolving visual presence that enhances any interior or design collection.

Bari Ziperstein pushes the boundaries of slab construction with innovative engineering methods, captivating the design trade, friends, and fans alike. With inventive shapes, unique glaze colors, and a fearless approach to scale, Ziperstein has produced a variety of intimately sized and architecturally scaled ceramic vases, vessels, lamps, and furniture. Each meticulously crafted piece is a limited edition of 28, exclusively available through The Future Perfect.

The White Silver Chair contrasts bright white ceramic with shimmering silver patterns. Its structural silhouette is softened by expressive hand-painted detailing, creating a lively tension between form and decoration.

Kristin Victoria Barron’s Swan Lights merge organic metaphor with alchemical materiality. The sculptural glass form appears to glow from within, enriched by layers of mineral salts. The piece evokes a sense of otherworldly presence and ceremonial beauty.

The Tube Chandelier, a triangular fixture with lights illuminating from each of its three sides, is a sleek addition to any residential or commercial space.

Adam Miller’s Bud Vase series features a variety of visual idioms taken from the Yucca desert where Miller and his family make their home. They are works of conceptual generosity and live in a scale that is highly personal and artifactual. With four variations, each of which takes on a piece of desert iconography, these vessels incorporate massive and timeless ideas in a small space.

Vikram Goyal leads his studio practice with a commitment to mastering traditional metalworking techniques, which has led to reimagining them to serve a contemporary design vision. The studio’s singular approach to metalworking, with a focus on brass, includes daring innovations on time-honoured processes honed by artisans for generations.

Each lamp is not simply a source of light—they are emissaries from a dream terrain, creatures conjured from the subconscious shoreline. Each animal form feels as if it wandered out of sleep and paused to glow. Their light doesn’t just illuminate; it seeps from some other reality, passing through invisible membranes between waking and dream.

“These organisms are classified as a kingdom, fungi, which is separate from the other eukaryotic life kingdoms of plants and animals.” The Fungus collection consists of glass vases inspired by the shapes, colors, and textures of fungi and molds. The result is a collection of uniquely functional objects, each vase capable of commanding attention within interior spaces.
 

Using multiple firings and a variety of glazes, Jane Yang D’Haene captures the memory of Korean Moon Jars in a series of planters that explore the past, present, and future through texture and color. Round, but not always the same shape; white, but not always the same color—each planter reflects the timeless fascination Moon Jars have inspired since the 17th century. Embodying simplicity and elegance, the series carries forward an enduring symbol of Korean identity.

These lamps from Ben & Aja Blanc showcase the duo’s keen understanding of visual nuance and the subtextual potential of ceramic glaze. Layered and captivating, the Pen Bunny Lamp illuminates its own body, establishing its functional nature as a self-contained art viewing context.

Using multiple firings and a variety of glazes, Jane Yang D’Haene captures the memory of Korean Moon Jars from the past, present and future with her use of texture & color. Round but not always the same shape, white but not always the same color, Moon Jars have fascinated connoisseurs and artists since the 17th century. Embodying the aesthetics of simplicity and elegance, Moon Jars have often been associated with an indigenous Korean identity.

Myungjin Kim’s Hoot & Bloom series explores the artist’s renowned exploration of owls as both an iconographic archetype and an ecological specificity. Rendered in terracotta and possessing a delicate range of color, these works are airy but substantial, presenting a poetic understanding of our world and the place of life within it.

A slumped glass sconce designed to meld seamlessly into its surroundings. To create its delicate floral shape, sheets of cut glass are placed in a kiln over specially made plaster molds; as the kiln heats, gravity forces the malleable glass to drape over the molds. Fitted with hand-finished brass details and a side-by-side duo of dim-to-warm bulbs.