Flower Vases for the Spring Reset

Supernova draws on the brief intensity of a star at its brightest. Its organic surface catches and bends light, creating shifting reflections across the glass. This blown glass flower vase feels in motion even when still, with a form that sits somewhere between object and atmosphere.

Anna Jožová builds the Lava vase through layers of glass and copper wire, allowing enamel to flow and settle into an uneven, shifting surface. The form carries a sense of movement, shaped by the logic of eruption rather than control. Each piece develops over time. The surface oxidizes with its surroundings, changing in response to where it is placed.

Luft Tanaka develops the Kawa series through a process that begins in leather. Each mold is cut, sewn, and used to shape liquid porcelain as it settles into a thin, precise layer. The result carries traces of that making. Edges, seams, and surface shifts remain visible, giving the flower vase a sense of structure without losing its softness.

Tim Teven shapes the Pressure series by forcing steel to give under extreme load. Up to 45 metric tons compress the tube, creating folds that hold the base in place. The surface records that force. What reads as rigid starts to look worked, with depth, texture, and a surprising sense of softness.

Studio Ayres carves this flower vase from a single block of marble, giving it weight and a clear, grounded presence. Produced in Puebla with local artisans, the piece reflects a direct approach to material and making, with each surface shaped by hand.

Studio Formbart shapes this metal flower vase in tin, keeping the form small and intentional, designed to hold a single flower. The surface stays raw, with slight irregularities from casting and soldering left visible. It reads as both object and gesture, simple, but considered.

This vase takes its cue from the moment a flower opens, the shift from closed form to something more expansive. The shape follows that movement, unfolding outward with a soft, controlled rhythm. 3D printed in natural clay, it carries a matte exterior with a glazed interior, balancing precision with a more tactile surface.

Dahlia keeps the form simple, letting the material lead. Heat-based coloring creates subtle shifts across the surface, so no two pieces read the same. Made for dried flowers, it changes slowly with time, carrying marks, variation, and a sense of use as part of its presence.

Colored lines run across the surface, following the path of threads laid onto the form. As you move around the piece, the geometry shifts, changing with each angle. Glossy and matte finishes sit side by side, creating contrast in both color and texture. The ceramic flower vase reads differently depending on where you stand.

Handbuilt in stoneware, this vase takes on the shape of a flower in the process of opening. The surface holds slight variations from the hand, with a soft white glaze that stays uneven and tactile. It frames flowers without competing with them, while still holding its own as an object when left empty.

The Intersect collection builds each form from a single continuous curve. As it crosses itself, separate volumes begin to appear, shaping the container from one uninterrupted line. 3D printed in ceramic, the flower vase holds that logic in place, one gesture, repeated, creating multiple spaces within it.

Part of the PERSONA collection, these flower vases come out of ongoing material and form studies. The process stays visible, with each piece showing slight variation within a shared language. Material leads the outcome here. Each flower vase carries that direction into a functional object that still reads as individual.

Stoneware shaped with gentle distortions, giving the form its character. The interior is glazed, while the exterior remains raw, taking on a more aged surface over time. A flower vase that leans into irregularity, where small shifts in form and finish define the piece.

The wavy vase follows a continuous, flowing contour, giving the form a sense of movement. A chrome surface catches light across each curve, emphasizing its sculptural quality. Built layer by layer, it retains slight irregularities and a visible seam, traces of the process left in place.

Viie Vases focus on surface. Different clays, glass powders, and materials come together to create dense textures and layered color. Each piece carries a slightly archaic quality, with structure and glaze doing most of the work, giving the flower vase its presence at a small scale.

Afterimage centers on color as it forms in glass. Mouth-blown layers settle through heat and movement, creating a shifting field that changes with light. Traces of the process remain visible, where layers build and separate, leaving each flower vase with its own variation.

Soufflé breaks from the usual vase shape. Openings across the surface guide how stems are placed, creating a more structured arrangement from the start. Even without flowers, it reads as a small architectural object, with a pattern that recalls lace and gives each piece its own variation.

Esférico begins with a blown sphere, then disrupts it. Three crystal molds press into the form during making, shifting the surface away from a perfect round. Each glass flower vase carries that intervention differently. Transparency, weight, and slight deformation sit together, with a satin finish that softens the surface.

This vase pairs a glass cylinder with a sculpted outer shell in recycled textile fiber board. The curved form opens outward, echoing the movement of a bloom. The material reveals a white core along each edge, giving the flower vase a clear outline and a strong sense of contour.

Silvia Sukopova builds these pieces through layered 3D printing, nesting translucent forms inside one another without joints. Color shifts with angle and light, creating a subtle, changing surface. Drawn by hand and translated into print, each flower vase holds that original gesture, with variation built into the process.

Formed from bent copper tubing, this piece holds both a candle and a single stem, bringing fire and water into the same structure. The form stays restrained, with slight irregularities in the bends giving the flower vase and holder its balance.

Referencing a standing pillar, this piece reduces the vase to a single vertical element. It holds one stem, isolating it and giving it structure. A magnetic base allows it to shift position or connect with other parts, keeping the flower vase open to reconfiguration.