A fleur d’eau
Artist
Atelier Polyhedre
Year
2020
Category
ceramics / objects / vases
Materials
red earthenware and "bleu de Sèvres" enamel
Dimensions
H. 23,5 cm, ø. 14,5 cm
H. 25,5 cm, ø. 14,5 cm
H. 27,5 cm, ø. 14,5 cm
H. 25,5 cm, ø. 14,5 cm
H. 27,5 cm, ø. 14,5 cm
Edition
3/8
limited edition, signed and numbered to 8
limited edition, signed and numbered to 8
Stock
In stock
Expertises
À fleur d’eau (Afloat)
The marsh is a calm and reflective surface in between land and water. Elongated and static plants emerge from it, as if to penetrate the dark depths, until a breath of air triggers a delicate motion which brings them to participate in a murky wavering over the blurry body of water. This characteristic landscape of both Japan and their studio’s Nantes surroundings imprints the founders of Atelier Polyhedre’s unconscious minds and inspires "À fleur d’eau" (Afloat). Each of the three cylinders of decreasing heights is disproportionately large with regards to its capacity and accommodates a narrow opening in the center of a surface glazed in Sèvres blue with a near to black density. Depending on one’s point of view, optical effects reveal a play of symmetrical reflections and the illusion of stems floating in the vase. These three pieces are a new reference to architecture and the natural landscape and their composition borders the physical principle of flowing water, which occurs naturally in marshes or in a controlled way in gardens, and which cascades into the next space with each overflow.
The marsh is a calm and reflective surface in between land and water. Elongated and static plants emerge from it, as if to penetrate the dark depths, until a breath of air triggers a delicate motion which brings them to participate in a murky wavering over the blurry body of water. This characteristic landscape of both Japan and their studio’s Nantes surroundings imprints the founders of Atelier Polyhedre’s unconscious minds and inspires "À fleur d’eau" (Afloat). Each of the three cylinders of decreasing heights is disproportionately large with regards to its capacity and accommodates a narrow opening in the center of a surface glazed in Sèvres blue with a near to black density. Depending on one’s point of view, optical effects reveal a play of symmetrical reflections and the illusion of stems floating in the vase. These three pieces are a new reference to architecture and the natural landscape and their composition borders the physical principle of flowing water, which occurs naturally in marshes or in a controlled way in gardens, and which cascades into the next space with each overflow.