What Do You See? Abstract Sculpture Open for Interpretation

Stoneware and porcelain sculpture with a contrasting yellow base. The playful form balances color, texture, and proportion, sitting comfortably between a vessel and an abstract sculpture. Designed to hold a single dried branch or flower, it also works as a standalone object, pairing naturally with sculptural vases in contemporary interiors.

Using contrasts between raw stoneware and metallic glazing, this piece resists fixed interpretation, sitting comfortably within the realm of abstract sculpture while echoing themes found in contemporary ceramic design. It reads as architectural, symbolic, and imagined all at once, a form that shifts depending on how long you spend with it.

The Atotô Collection by Studio Pedro Galaso takes shape through clay as both ritual and release, drawing from the designer’s personal healing practice and spiritual lineage within Afro-Brazilian traditions. Spanning wall pieces, pendants, and tables, the works sit between conceptual design and sculptural decor, where hand-modeled forms, straw-like textures, and subtle touches of gold reference protection, care, and embodied making rather than fixed symbolism.

Rooted in the symbolism of the earth element, this sculpture draws on ideas of stability, grounding, and physical presence. In astrology, earth signs are associated with structure, reliability, and a close relationship to material form, qualities reflected in the work’s weight, texture, and tactile clarity. The piece sits comfortably within the world of sculptural objects, while also resonating with broader ideas explored in nature-inspired design, where material and meaning remain closely tied.

Inspired by the gentle ripples of water, this handcrafted incense holder brings a sense of calm through form rather than ornament. Made from hammered aluminum and Jesmonite, its surface catches light with subtle movement, placing it comfortably between abstract sculpture and functional incense holders. The piece reads as a quiet object of pause, equally at home among metal decor or within a curated, contemplative interior.

This sculptural piece contrasts a raw, stone-like exterior with a reflective crescent of dark silver clay revealed through a vertical opening. The tension between matte and polished surfaces rewards close looking, placing it naturally within conceptual decor and the language of abstract sculpture.

That’s Bananas is a series of handblown glass vases inspired by the Cavendish banana, a fruit so globally familiar it often escapes scrutiny. The collection reflects on themes of trade, transformation, and cultural erasure, using color and clarity to contrast what is celebrated versus what disappears along the way. Each vase is individually made through traditional glassblowing techniques, ensuring subtle variation and a one-of-a-kind outcome that reinforces the tension between mass recognition and singular craft.

Into The Void pushes the limits of slip-cast porcelain, allowing gravity and material behavior to shape the final form. The stacked elements shift and settle during firing, producing a one-off composition that sits between control and chance. The result reads as both abstract sculpture and process artifact, fitting naturally alongside other sculptural objects in contemporary interiors.

Once, we lived within nature. Now we curate versions of it. Paradiso Novo reflects this shift, presenting objects that appear organic but reveal themselves as deliberate simulations, controlled, shaped, and aestheticized. The work sits in dialogue with ideas of artificial nature and curated environments, aligning naturally with themes of biophilic design and contemporary sculpture without trying to imitate the natural world outright.

This collection of marble pieces by Salvador and Enzo Compañ is carved by hand at Taller Téllez in Tecali, Puebla, a town whose name translates to “stone house” in Náhuatl. Shaped using traditional tools, each work reflects the natural variation of the marble itself, with veining, color, and texture determining the final form. No molds are used, which places each piece somewhere between handcrafted sculpture and material study, aligning naturally with ADORNO’s focus on marble design.

This object experiments with the interweaving of glass and textile, pairing pastel glass forms with the sheen and airiness of woven mesh to create a sculptural tension between softness and permanence. Drawing inspiration from the poses and visual language of 1980s and 1990s supermodels, the piece plays with exaggeration and surface, situating itself between the world of fashion and contemporary sculpture, where material, body, and form intersect in unexpected ways.

The Puzzle Sculpture by Daniel Orozco Estudio brings together reclaimed tropical wood from the Yucatán and a matte black wrought-iron base in a composition that feels grounded and intentional. The irregular wooden forms highlight natural variation and handwork, focusing on wood decor and material-driven design. It sits comfortably between functional object and abstract sculpture, adding weight and texture without overwhelming a space.

Forged from molten metal, this sculptural head captures a charged balance between exposure and protection. Its heavily textured surface fractures into shards, folds, and voids, giving the impression of erosion frozen mid-process. The form reads as both armor and skin, holding traces of damage, endurance, and the tension between strength and vulnerability.

This sculptural work by CERAMIC 47 explores the tension between fragility and strength through two interdependent forms, one translucent and delicate, the other dense and grounded. Rather than opposing forces, the figures rely on one another, echoing themes found across contemporary sculpture and ceramic art where balance, support, and reciprocity shape meaning. The piece reads differently from every angle, aligning naturally with abstract sculpture that resists fixed interpretation and rewards sustained looking.

This wall mirror sculpture embraces glass in its most instinctive state, allowing heat, gravity, and motion to shape each form organically. Rather than forcing uniformity, the process honors irregularity, resulting in pieces that feel alive and unrepeatable, much like hand-formed works rooted in the traditions of glassblowing. Positioned on the wall, it functions as both reflection and object, sitting comfortably within contemporary mirrors that value material honesty and expressive form.

A singular stoneware sculpture by Vale Ro, finished with custom glazes formulated to evoke translucency and fragility. Intentionally fractured during construction, the piece reveals fissures and inner chambers, foregrounding process over surface and aligning naturally with contemporary approaches to abstract sculpture and ceramic design. The work resists polish in favor of exposure, allowing material tension, breakage, and repair to define its final form.

YunSeul takes its name from a Korean word describing light scattering across rippling water. Hand-carved from wood using a labor-intensive texture carving technique, the sculpture builds rhythm through repeated cuts, producing soft curves and surface movement shaped entirely by the artist’s hand. The result sits comfortably alongside other pieces rooted in wood craftsmanship and sculptural decor, where material, time, and attention remain fully visible in the finished form.

The Kawa Series by Luft Tanaka emerges from a labor-intensive porcelain process that begins with hand-drawn sketches and leather molds, later peeled away to reveal thin, fluid ceramic forms shaped by gravity and time. The leather’s texture transfers directly onto the porcelain surface, creating subtle irregularities that sit comfortably within the language of ceramic design and contemporary sculpture. Each piece reflects a slow, deliberate approach to making, fitting naturally among sculptural objects that value process as much as form.

Elements of Anatolia reads like a geological record translated into form. Layered surfaces and restrained geometry suggest accumulated time, memory, and lived experience, where history feels present rather than preserved. The piece sits comfortably within the language of abstract sculpture, rewarding slow looking through texture and depth rather than overt symbolism.

UKWIAŁ’s ceramic work pushes material boundaries through bold color pairings and an unexpected softness achieved via flocking. Hand-formed and tactile, each piece blurs the line between sculpture and object, sitting naturally among other ceramic designs or as a standalone sculptural object with a distinctly organic pull.