Vases

Launch year: 2024
Material: Blown crystal
Dimensions: 24 x 19 x h41 cm

Quartzites and sandstones of different origins and ages merge into a grand mosaic. Erosion takes charge, sculpting depressions and curves of varying orders within the Serrano conglomerate.

Inspired by the characteristic landscape of the Lençóis Riverbed in Chapada Diamantina, Jacqueline Terpins creates the Serrano vase and centerpiece in crystal. She defies the paths naturally indicated by the incandescent material, shaping the piece with abrupt deviations of movement, resulting in deep recesses using steel tools. The weathering endured and recorded by the stones over time is represented by the craquelle glass technique that traverses part of the surface of the piece.

Launch year: 2024
Material: Blown crystal
Dimensions: 21 x 12 x h52 cm

Similar to most caves and caverns, the Gruta da Lapa Doce (Sweet Cave) owes its formation to processes of chemical erosion. Rainwater, in contact with atmospheric gases, becomes slightly acidic, creating cavities that, over time, expand and give rise to underground landscapes.

Within Lapa Doce, the negative imprints of water pathways are revealed on the limestone walls and ceilings. Emerging from highly porous and vulnerable rock, shapes with sharp edges and angles form in apparent opposition.

Contrary to the natural tendency of crystals to round out under the influence of high temperatures, Jacqueline Terpins, in a fresh approach to the material, guides the Rochoso vase to acquire angles, corners, and edges using wooden and iron tools. Just as limestone responds to water’s action, the crystal assimilates and incorporates the transformations brought about by precise and delicate interventions.

Launch year: 2024
Material: Blown crystal
Dimensions: 16 x 12 x h58 cm

Ao entrar nas cavernas Torrinha e da Fumaça, a subexposição de luz faz com que a coloração branca do calcário ressalte à visão. Entre as diferentes formações registradas nos tetos e paredes, destacam-se as estalactites. Em um processo contínuo e estendido no tempo, o gotejamento da água que passa pelo teto através da rocha carrega minerais dissolvidos que se depositam sucessivamente, criando essas formas geológicas.

No vaso Estalactite, os minerais que compõem o cristal, em alta temperatura, procuram o movimento natural da matéria que remete ao gotejamento nas cavernas. Em temperatura próxima a 900°C, a massa vítrea é alongada e, com a intervenção de ferramentas, pontas se desenham em referência às formações rochosas. Assim como a água, o cristal flui, permitindo que a plasticidade do material traga a memória das imagens das estalactites.

Launch year: 2020
Material: Blown crystal
Dimensions: 13 x 7 x h50 cm

Igapó is one of the types of vegetation found in the Amazon rainforest and is characterized by flat lands along the Rio Negro, periodically flooded.
Due to the lack of nutrients in the water and soil that compose them, the igapó forests are configured as extremely fragile environments.
The Igapó vase, an intact body that breaks and tears, brings to the crystal the memory of the trunks that suffer from the action of the water and the natural scarcity of sandy terrains, flooded. A record of the low degree of resilience of this biome.

Launch year: 2020
Material: Blown crystal
Dimensions: I - Ø13 x h78 cm | II - Ø11,5 x h65 cm

The Igarapé vase is inspired by the branches of the Rio Negro, which arise from the deep waters of this river and become shallow and capillary water courses that permeate the Amazon basin.
From Tupi, “ygara” (canoe) and "apé" (path), igarapé means “canoe path”. In its form that insinuates movement and points to a direction, the Igarapé vase is born from the reflection that in this structure, the path of water is the path of man. Here, man and nature are one, following the same path.

Launch year: 2020
Material: Blown crystal
Dimensions: Ø15 x h48 cm

In the process of studying shapes, it started with an elongated and homogeneous mass of clay. A repetitive and uniform gesture printed on the clay reveals the central axis of this volume creating a punctual narrowing in the oval shape, which refers to the female body.
Inaru, woman in indigenous language from the Uaupés River - Rio Negro Amazonas region. The Inaru Vase transfers from the clay to the crystal not only the sinuous shape associated with the woman and all the meaning she carries, but also brings, in the choice of its name, an invitation to look at our ancestral people in relation to the supreme woman, to Mother earth.

Launch year: 2020
Material: Blown crystal
Dimensions: 17,5 x h38,5 cm

Anavilhanas Archipelago, Rio Negro. This set of large-scale fragments of land create deviations and ramifications in the natural course of its wide waters in the extension of the Rio Negro, which gain a new route and rhythm of flow.
The Anavilhanas vase presents a blown crystal base, two layers of solid crystal that run in different directions, converging at a point along their paths.
The crystal, of liquid and fluid origin, solidifies becoming the representative record of the spontaneity that water assumes in its paths, adapting to the circumstances, without losing its nature.

Launch year: 2015
Material: Blown crystal
Dimensions: I - Ø27 x h37 cm / II - Ø23 x h25,5 cm / III - Ø18 x h25 cm / IV - Ø16 x h20 cm

Jacqueline Terpins, when creating the Twist vase, shares with the observer the fluid state of the crystal as a material.
As the name says, a twist brings the aesthetic result that is expressed in the fluidity of the forms of a solidified piece. An object that has the movement and lightness of the incandescent crystal presents itself as a memory of the high temperature.

Launch year: 2011
Material: Blown crystal
Dimensions: I - Ø18 x h27 cm / II - Ø19 x h19 cm

In the Membrane Vase, layers are created through intermittent dips of the crystal mass harvested from the oven, in a surprising overlap of colors.
This technique of blown crystal, explored freely shows that when two colors establish an intersection between themselves they form a third color, welcome and unexpected. The movement and the time mark of the development of the piece are registered in it. The result: unique pieces in which there are subtle nuances of colors in full transformation.