about the forms
The pieces I make in the studio are made to be used. Utility is the constant question: how it settles in the hand, how it pours, how it behaves when full and when empty.
Over the past months, especially during the first Studio Sales, something kept coming up. Whenever I named a piece by its use, people instinctively aligned with that use. Espresso cup narrowed the conversation. Muesli bowl fixed the object in a single role. Not wrong, but limiting.
So I looked for a different kind of language: precise about the form itself, less prescriptive about its contents. That's how the form codes came in: C1, C2, P1. Simple markers for the proportions of the outer shape.
The codes also help build a coherent line. Instead of isolated pieces, the collection becomes a system: same logic, same proportions, different scales. Each form is dimensioned to work with the others. A C1 nests into a B3, into a B4, then into B6 and B7. Almost like a Matryoshka. Not as a gimmick, but as a practical consequence of consistent geometry.
A C1 might hold a short, strong espresso in one kitchen; olives, sea salt, or a handful of nuts in another. None more correct than the other.
A piece should be designed with a specific purpose in mind, and remain generous enough to take on other roles. Clear in its intention, and open to whatever feels right.
