Cotta Vessel by Decio Studio

Cotta vase tripod by Decio Studio. Decio (IT) shows ‘Cotta’, his unseen and undiscovered body of work. Decio studio’s ideal is to create a corner of a ...

Cotta alien 2 by Decio Studio. Decio (IT) shows ‘Cotta’, his unseen and undiscovered body of work. Decio studio’s ideal is to create a corner of a fant...

Cotta mirror 2 by Decio Studio Decio (IT) shows ‘Cotta’, his unseen and undiscovered body of work. Decio studio’s ideal is to create a corner of a fant...

Cotta marble run by Decio Studio Decio (IT) shows ‘Cotta’, his unseen and undiscovered body of work. Decio studio’s ideal is to create a corner of a fa...

Cotta shelter tripod by Decio Studio Decio (IT) shows ‘Cotta’, his unseen and undiscovered body of work. Decio studio’s ideal is to create a corner of ...

Cotta table lamp by Decio Studio Decio (IT) shows ‘Cotta’, his unseen and undiscovered body of work. Decio studio’s ideal is to create a corner of a f...

Reidi coasters by Studio Lel Dimensions: D 9.6 x W 9.6 x H 0.6 cm Materials: Serpentine, Resin, Marble The Reidi Collection takes its name from the Persian word for the poppy fl...

Reidi Bowl by Studio Lel Dimensions: D25x W25 x H8 cm Materials: Serpentine, resin, marble The Reidi Collection takes its name from the Persian word for the poppy flower - marry...

Sculptural vessel in clay with four parallel lines of lava work lines, against a finger worked background, by Jake Irving. This piece is of dish form with corners turning upwards. ...

"Kogetsudai (beige)", 2015 coiled nylon cord, sewing thread "Kogetsudai (beige)" is one of four works made in the approximate shape of the Kogetsudai gravel mound in the garden of Ginkaku-ji in Kyoto, Japan. Upon my first visit to this garden, I was fascinated with the Kogetsudai, and the more I learned about it the more my interest was piqued. The feature is one of two special gravel mounds there, which are made from fine grey gravel or sand and re-shaped nearly every day by the gardeners. The name translates to something like "moon-viewing platform" but the reason for the name, the shape, and its significance has been lost to history. Some speculate that the name derives from how the top of the cone appears as a silvery moon-like reflection against a sea of gravel at night when viewed from the upper floor of the adjacent Silver Pavilion - and that the shape may be a reference to Mount Fuji. The Kogetsudai at Ginkaku-ji is a "frustum" shape about 2 meters tall and records show it being in its current shape and approximate dimension since the late 1700's. The shape is very powerful but it is made only of moistened sand. I made this series as a way to study the shape and understand its geometry and presence. I wanted to be able to sit with that shape in a room. I made the shape as a vessel to reinforce the idea of the shape itself, rather than as a solid mass. Furthermore, the dedication to the continual rebuilding of the form and object over and over through time, without a need for any "function" other than beauty and cultural continuity, was similar to how I have come to think of the act of vessel-making by humans. We likely inherited vessel-making skills from our pre-sapiens human ancestors, and have continued this activity over hundreds of thousands of years, and in a proliferation of materials from fibers, wood, clay, metal, glass, plastic, and more. Especially since the beginning of the Holocene, a certain amount of vessel making has had no function or purpose other than for cultural continuity and the cultural, formal, craft, and visual aesthetics within the multitude of human cultures. In this series of works, the continuous length of rope coiled into a conical helix also serves as an expression of this continuity through time, perhaps working towards a yet-unknown endpoint or goal, while creating a space that is simultaneously empty and loaded. This work was first exhibited in 2015 at Patrick Parrish Gallery as part of my solo exhibition "what it is". It was later shown at the Haystack Mountain School of Craft in Deer Isle, Maine, as well as several other group exhibitions. It has also appeared in several design and art publications in print and online. Since 2010 Doug Johnston has produced a wide range of functional and sculptural objects using a process of coiling and stitching rope using industrial sewing...

"Kogetsudai (black)", 2015 coiled nylon cord, sewing thread "Kogetsudai (black)" is one of four works made in the approximate shape of the Kogetsudai gravel mound in the garden o...

-Made in 2015 -cotton cord, and sewing thread. "Untitled (Vessel 6)" was made in 2015 as part of a body of work for my exhibition "what it is." It is a sculptural vessel-form object made by coiling and sewing cotton rope with an industrial zig-zag sewing machine. The piece is not made with a specific form in mind when started, so its shape emerges somewhat organically during its making. Multiple smaller, individual vessels are made, then joined together. More rope is coiled and sewn onto the new form, and new parts are incorporated and built upon from there. This piece features a large base sewn with black-dyed cotton rope, which acts as a visual and physical anchor for the object. The form is simultaneously architectural and creature-like while retaining a conceptual and actual openness. Since 2010 Doug Johnston has produced a wide range of functional and sculptural objects using a process of coiling and stitching rope using industrial sewing machines...