Next we have Pablo Soto of North Carolina for Desoto Glass Design. I can't be sure of the actual dates of each of these collections, but there does seem to be a coherent progression. Some of the simpler work just shows a nice handling of line and color, as with the scarlet and saffron "Silhouettes":
And these "Colordrops":
Then there's the "Sidecar" collection, which somewhat playfully resembles laboratory equipment, but would also allow for creative arrangements of flowers, candles, whatever, and quite cleverly plays with the interactions of color:
Impressively, though, each further development really takes his work to a whole new level. He's taken the "Silhouette" pieces and carved these amazing geometric patterns into them, in fuchsia, scarlet, and amber:
Then in some of these smokier, earthier hues--bronze, sargasso, and aubergine--which I think look so very rich:
And even more startling is the collection in smoky blue and tea, which take on this very metallic quality that I think is amazing, and gives the geometric patterns a whole new character, almost microchip:
Last but not least are some decorative glass objects with a different surface treatment he equates to filigree, Moire-Blancos and Moire-Negro:
I love how--in overlapping groups--the surface treatment sort of plays tricks on the eye. It's like a person wearing a black & white herringbone suit on color television. And by the way, if I were ever asked to produce a music video, I often thought I'd use only those kind of patterns to play with the fact that color TV can't quite deal with them. Anyway, with Soto's pieces, it's a situation where 1 + 1 = 3, in that it transcends the basic physical form of the object to create a visual experience, exactly what great design should do. They initiate an active dialogue with the eye the person viewing them.
©2009, Ryan Witte
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