21st Century and Contemporary Ceramics

Contemporary ceramic sculpture by French artist Véra Rybaltchenko. Made from chamotte stoneware with a patina before firing and fired in the kiln. Véra is a prolific artist who has e...

These handmade decorative accessories combine the traditional Portuguese ceramic and glazing techniques in a modern approach of shapes and color, as they bring such brightness and jo...

Enhance your table with these delicate porcelain flowers by French artist Samuel Mazy, exclusive to Maison Nurita in Canada. Mazy has been working as a ceramist for nearly 20 years i...

Porcelain sculpture entitled "Solstice". Unique piece. Signed under the base. 2022.

Important stoneware sculpture entitled " Corps ascendant #6 ". Artist monogram under the base. This piece can be put indoor or outdoor. Unique piece. 2023.

Stoneware sculpture entitled " Corps ascendant " . Unique piece. 2023. Artist monogram under the base. This piece can be put indoor or outdoor.

Taukana Regui Wauja Ceramic Yerupoho Piece, 2024 Ceramics and natural pigment This handbuilt ceramic sculpture by Taukana Regui Wauja, an Indigenous artist from the Wauja community ...

Contemporary figural unglazed terracotta sculpture of an abstract reclining figure. An homage to sculptor Henry Moore. Made in 2019 by Oklahoma artist Emily Ladow Reynolds. Dimen...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...

Porcelain sculpture entitled "Solstice" . Unique piece. Signed under the base. 2022.

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality. The alignment of technique and what it causes one to see and feel has rarely been so intimately successful. Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

Porcelain sculpture entitled "Solstice" . Unique piece. Signed under the base. 2022.

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

A ceramic sculpture "Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

A ceramic sculpture "Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

A pair of ceramic vases by Charles-Henri Guieba with geometrical decoration. Wood firing. Perfect original conditions. Each piece is signed under the base. Unique piece. 2022.

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2018. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality. The alignment of technique and what it causes one to see and feel has rarely been so intimately successful. Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...

Inspired by the ceremonial neckwear of the Ndebele tribe of Southern Africa, this one-of-a-kind garland is a bold exploration of form and contrast. Hand-cut and high-fired in small b...

A ceramic sculpture "Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

A ceramic sculpture " Bloc in motion" by Maarten Stuer. This piece can be put indoor or outdoor. Artist monogram under the base. 2020. Unique piece.

Silo is a sculpture that bases its beauty on the material in which it is made. Made of wild clay from the Mixteca mountains, this clay is cleaned in filters...

The works by Barbara Sorensen depicted in the image are three stoneware wall plaques from her "Shield Series," inspired by the weathered surfaces of stucco farmhouses in the Pyrenees...

Torcida by Elena Rakochy , Glazed Stoneware Composed of Rounded, Flat and Hexagonal shaped elements juxtaposed with some twisted portions for a dynamic contrast. Artist Bio and State...

"Kamalu hai (Snake Canoe) II" by Taukana Regui Wauja, 2024 This handbuilt ceramic sculpture by Taukana Regui Wauja, an Indigenous artist from the Wauja community in Brazil’s Xingu Te...

Enhance your table with these delicate porcelain flowers by French artist Samuel Mazy, exclusive to Maison Nurita in Canada. Mazy has been working as a ceramist for nearly 20 years in Paris. He sculpts porcelain flowers to create poetic floral compositions. His work is directly inspired by the masters and manufacturers of Sevres Porcelain. This Morning Glory is handmade in biscuit porcelain with copper leaves, stems, and trellis, and is placed in a white biscuit porcelain...

Enhance your table with these delicate porcelain flowers by French artist Samuel Mazy, exclusive to Maison Nurita in Canada. Mazy has been working as a ceramist for nearly 20 years i...

Enhance your table with these delicate porcelain flowers by French artist Samuel Mazy, exclusive to Maison Nurita in Canada. Mazy has been working as a ceramist for nearly 20 years i...

Bring a touch of Mexican folk art into your home with this beautifully handcrafted ceramic pineapple. Made by skilled artisans in Mexico, this decorative piece is crafted from high-t...

These splendid ceramic creations are born from the artistic laboratory of Mosche Bianche. The piggy bank, a means that has always been used to remind us of the importance of savi...

These splendid ceramic creations are born from the artistic laboratory of Mosche Bianche. The piggy bank, a means that has always been used to remind us of the importance of savi...

These splendid ceramic creations are born from the artistic laboratory of Mosche Bianche. The piggy bank, a means that has always been used to remind us of the importance of savi...

2022 Porcelain and brass candlestick with wooden base H34 x W30 x D17 cm

Glazed ceramic

Enhance your table with these delicate porcelain flowers by French artist Samuel Mazy, exclusive to Maison Nurita in Canada. Mazy has been working as a ceramist for nearly 20 years in Paris. He sculpts porcelain flowers to create poetic floral compositions. His work is directly inspired by the masters and manufacturers of Sevres Porcelain. This Hyacinth is handmade in hand painted glazed porcelain with copper leaves and stems, and is placed in a white biscuit porcelain...

Star petal gourd III by Julie Nelson One Of A Kind Dimensions: D 22 x H 26.5 cm Materials: Ceramic stoneware and porcelain Artist Julie Nelson uses ...

Ochre mid pentacle III by Julie Nelson. One of a kind. Dimensions: W 24 x D 30 x H 22 cm. Materials: ceramic stoneware and porcelain. Artist Julie Nelson...

Elegant white and blue vessel made with the Talavera technique. Artist, Cesar Torres portraits the colonial art of Mexico. The Talavera is not just a simple painted ceramic: its exquisite decoration is the product of a delicate process of alchemy that translates into fine enamels. In Puebla, Mexico few people still produce using Talavera with the ancestral techniques. One of those few is Cesar Torres, Don Cesar learned his art in the workshop of the Uriarte family, an excellent workshop where his grandfather worked. In his creations he uses the black and white mud that is obtained from the nearby hills of Loreto and Guadalupe, and colors of mineral origin that he creates in his workshop with recipes from his grandfather. All the pieces are modeled in a traditional way and go through a production process that usually takes from one to two months, between drying, burning, and painting. Being surrounded by a living tradition, Cesar Torres Jr., learned from his father since childhood. Architect by profession, Cesar Jr. has come to revolutionize and modernize with new designs and ideas of the current world, nevertheless always respecting the tradition of the processes and materials that make Talavera a Creole art...

Discover the artistry of Paul Philp Ceramics, where every piece is a testament to craftsmanship and creativity. Paul combines traditional handcrafting techniques with a modern sensib...

Large floor vase in black glazed ceramic by Patrick Crulis. 2024. Unique piece. H : 28.3 x 15.7 x 15.7 inches. Approximate sizes.

Large floor vase in black glazed ceramic by Patrick Crulis. 2024. Unique piece. H : 27.9 x 15.7 x 19.7 inches. Approximate sizes.

Engobed stoneware sculpture « Solstice » by Mart Schrijvers. Artist signature under the base. 2024. H : 7.9 x 11.8 x 9.1 inches.

2017 Glazed ceramic H51 x D31 cm

Painted earthenware H45 x D20 cm

Sgraffito and hand-painted glazes on terracotta H11 x D37 cm

Painted embellished moulded plate earthenware D31 cm

Our Duna tile was hung by winds and created a unique relief that adds to your home a sense of non-primitive movement and a sense of calm. Imagine, as if you are in a desert and you a...

Decorated earthenware H16 x W10 x D22 cm

Crank clays with oxides H18 x D27 cm

2018 Hand thrown and glazed stoneware H19 x W16 x D40 cm

Porcelaine, transparent glaze H38 x D36 cm

Decorated earthenware H17.5 x D12 cm

White glaze H29 x W31 cm With maker’s mark

Glazed ceramic

Green and white glaze H48 x W24 cm With maker’s mark

Decorated earthenware with stand H22 x W11 x D7.5 cm