All serve to contain—why not ower water? All are ceramic.

Each of them is higher or lower than all the others. Each of them bears the name of its geometric form.

All come after the Combinatory Vases (1997), the Torique Vases (1999), the Honda Vase (2001), and the Cloud Vases (2015).

All recall that the vase object is one of Ronan & Erwan Bouroullec’s favorite territories of formal and material research.

Each of them is unique, combining the regularity of a generic form, of its angles and bevels, with the organic variety of craft production.

Each of them re ects the light differently, depending on your vision, your distance from it, and its lighting.

All produce for me the sfumato effect, between the vaporous evanescence of the glazes and the depth of chromatic eld.

All, thanks to the science of enamels, seem to issue from magic: vibrations that escape and complement each other.

(Some wink at me with their ceramic marshmallows, their baked-clay tutors.)

Each of them has the crystallized fragility of paper architecture.

Each of them evokes for me the static compositions of Giorgio Morandi.

All of them remind me of the diamond shapes of the Ruutu vases (2015) —that difference and unity are two sides of the same coin.

All of them extend the exhibition Seventeen Screens (2015) in which Ronan & Erwan Bouroullec experimented with multiple modes of ceramic assemblage and enameled renderings.