Growth in ceramics.
Biology in architecture
Vessels for life in the built environment. Generated through a new paradigm.
Drops
Where the work is, right now: editions released online, exhibitions to visit, and what has just closed. Everything here leaves for the portfolio when it ends.
Ananta
Thirteen modules, fired individually to cone 05. Designed, engineered, printed, and fired over the course of 8 months.
Iolla
Portfolio
Every piece that has finished showing, newest first. Editions, exhibitions and the firings behind them.
Chamber Study VII
Radiolarian Bowl No. 2
Bloom Relief III
Strut Vessel No. 9
Accretion No. 1
Accretion No. 2
Vein Bowl
Coral Flask
Labyrinth Plate
Spot Vessel
The oldest material. The newest form. An old question, asked again.
Orion makes 3D-printed ceramics under the name Sentient Spaces. Every piece begins as a sketch made by hand — shaded, exploratory, felt rather than intended — then moves into three dimensions and is broken into modules small enough to fire.
After firing, the fragments are assembled back into a whole, and the joins stay visible. What the pieces look for is the threshold between growing and dissolving: organ and landscape at once, alien artifact and ancient fossil, living and long dead.
Beauty has been defined too narrowly. I go toward what people turn away from because there is extraordinary beauty in a mushroom digesting a log. We are nature and have never been anything else, and death is a return rather than an ending.
Every piece begins as a simulation. A reaction–diffusion field runs until the pattern closes on itself, and that surface becomes the geometry. Large forms are segmented into printable modules, printed in stoneware at a 0.8 mm nozzle, then assembled after the first firing. Seam lines are left visible.
Glazes are chosen against the pattern rather than over it: a celadon that pools in the valleys, an iron saturate that breaks on the ridges. Everything is fired to cone 6.
Edition sizes are not decided in advance. A firing is loaded with more pieces than the edition needs, and whatever survives becomes the edition. A thin shell that slumps, a module that cracks at a seam, a glaze that crawls, all of it reduces the number that exist. The failures are kept and shown alongside the work when there is room for them.
Work is shown in galleries and released online when a firing survives. Current showings and available editions are on the drops page; everything that has finished showing moves to the portfolio.
Talks
Lectures and panels on generative geometry, printing in clay, and letting a kiln decide how many of something exist.
Growing a pot before you throw it
On writing the rules, reading the output, and deciding when to stop the simulation.
Failure rates as edition sizes
A talk about letting the kiln decide how many exist.
News
From the studio: firing notes, glaze tests, and what changed an edition size.
Nine modules, two failures
Notes from the Ananta firing, and why the edition is six rather than eight.
A new glaze for the vein series
Iron saturate over a thin celadon, tested across fourteen tiles.
Contact
For exhibitions, loans, commissions and press. I answer everything myself, usually within a few days.
Austin, Texas
The studio is not open to the public. Showings are listed on the drops page, and open-house dates are announced in news.