Welcome to the annual Sight Unseen gift guide! We're sharing our most covetable home, fashion, and beauty finds from around the web — Monica's include everything from Gaetano Pesce vases to designer CBD drops to Mongolian wool wine totes.
Welcome to the annual Sight Unseen gift guide! Today and tomorrow, we’ll be sharing our most covetable home, fashion, and beauty finds from around the web, from iridescent straws to ombré bath mats to the coziest shearling handbag we could find (it's like carrying a tiny Muppet). First up is Jill, who’s got you covered on last-minute gifts, from horsehair mirrors to Hawaiian-inspired fragrances.
What is it about self-contained vignettes — in which the artist creates not only the work but also the structure the work sits upon — that are so pleasing? This is the second exhibition of its kind that we've featured this week, in which the plinth is part and parcel with the piece: Called "Bit by Bit Above the Edge of Things," Danish artist Marie Herwald Hermann’s first exhibition at Paris London Hong Kong in Chicago presents six of these tableaus — primarily made from porcelain, stoneware, and silicone — framing a small room punctuated by a seventh piece in ceramic, fiber, and wood.
The exhibition of multi-disciplinary artists riffing on a traditional trope or form keeps popping up here in New York, and each one has been more delightful than the last. The latest, showcased at Fredericks & Mae's Brooklyn storefront and curated by the duo, is all about "head pots" — also known as vases with faces.
Ceramic artist Harvey Bouterse had never touched a lump of clay before he walked through the doors of the Antwerp-based porcelain company, Perignem, eight years ago. “I had been collecting their pieces for a number of years,” the Surinam-born, Dutch-trained designer explains, “and wanted to have a piece signed, so I looked up their office and stopped by.” What he found was a ceramics factory — almost entirely out of use — with an atelier and workshop stocked to the brim with glazes and clay dating back to the 1950s. He's been working there ever since.
London-based designer Charlotte Taylor briefly considered becoming an architect before studying in the fine arts department at Chelsea College of Art, and her fascination with the built interior shows in almost everything she does. Her first object design, which we're stocking in the Sight Unseen Shop as of this week, is a series of vases called Fictive Objects — in other words vases that have been designed to inhabit the imagined spaces portrayed in Taylor's drawings but that would look just as good styling a shelfie.
In the years since we began following her work, Morgan Peck's ceramics have often pivoted between art and design. But her latest collection, which launches today, falls squarely in the latter category, expanding as it does on her recent experiments with mirrors and adding cylindrical, cut-out lamps to her collection for the first time.
A weekly Saturday recap to share with you our favorite links, discoveries, exhibitions, and more from the past seven days. This week: an unlikely source for geometric bedding, a bathroom made beautiful by neon grout, and a political art initiative to benefit one of our favorite organizations, She Should Run.
I knew, going in to photograph Table of Contents founder Joe Magliaro's Tribeca loft for a collaboration we’re launching with IKEA to celebrate the Swedish company’s new SAMMANHANG collection, that we’d have plenty of fodder. What I didn’t know was how thoughtfully Magliaro approaches the collecting of objects, and how much those collections will permeate any conversation you have with him about design.
Is the Royal College of Art London's most important ceramics incubator? When we look back on years of covering the design school's graduation show, our favorites have invariably come from that school's department of Ceramics and Glass. So this year, we cut right to the chase, and are featuring our favorite projects from the program.
For Philipp Schenk-Mischke’s recent Process Plug-Ins project, the designer looked at traditional modes of manufacturing, assembly, and use, and introduced physical "plug-ins" that might distort the final outcomes. For his BTM Ceramics — a collection of distorted, high-gloss vases — the still-wet, malleable pieces are placed on a body vibration plate and gently jiggled into more slumped, organic forms.
Armed with years of research, Australian stylist and designer Sarah Ellison debuted her first collection of furniture late last year, inspired by the playful proportions of '70s. In her pieces, these references are reinterpreted through a distinctly Australian lens, with colors and textures from the coastline captured through material choices such as travertine, mirrored glass, ceramic, and linen.