In the Barva vases, Pani Jurek places geometric form in conversation with the organic. The vessels are composed as abstract structures even before a plant enters them, their simple volumes and unusual proportions becoming independent compositions. Colour intensifies this relationship: each piece is individually glazed and engobed by hand, allowing unexpected tones and transitions to emerge across the ceramic surface. Arranged together, the vases become a small vocabulary of forms—objects that can hold plants, stand alone, or leave the floor altogether to become wall-mounted reliefs.
The OP lamps turn this attention from colour itself to the way colour is experienced. Ceramic bodies, contrasting glazes and directed light form an optical system in which illumination reveals, conceals and alters the material around it.
The concave ceramic surfaces of FAT OP hold light within their coloured interiors; SLIM OP changes scale according to its configuration; SLIM OP + DISC introduces a separate ceramic reflector whose relief produces shifting fields of light and shadow.
Rather than treating the lamp as a source of illumination alone, Jurek makes it an instrument for observing how light constructs colour, depth and atmosphere.
In TRN, the source is no longer nature or optical phenomena, but painting. The collection draws on Jan Tarasin’s reduction of recognizable objects into abstract signs, reversing his process by turning those signs back into things. Jurek translates the graphic gesture into three dimensions, creating lamps whose simple, calligraphic bodies can be arranged and read almost like letters from an invented alphabet. Her own description of this process as “visual thinking” is revealing: space becomes a picture, objects become marks, and furnishing becomes an act of composition. Across these collections, the object is never quite isolated—it becomes part of a larger visual language formed through colour, light, proportion and the presence of the viewer.
+ Pani Jurek
