Ceramics grown by rule, then fired.
Vessels and reliefs generated from growth simulations, printed in stoneware, glazed and fired in numbered editions. Shown in galleries; released online when a firing survives.
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 Vessel No. 4
Grown from a vein-network simulation, segmented into nine printable modules and reassembled after firing. The seam lines are left visible. Three colourways.
Accretion, Chamber, Bloom
Eleven vessels and two wall reliefs, with the failed prints from each firing shown alongside the editions that survived.
Strut Relief, second series
Six wall pieces from the strut-lattice family. Edition size set after the firing.
Ananta Vessel No. 4
Grown from a vein-network simulation, segmented into nine printable modules and reassembled after firing. The seam lines are left visible.
A different colourway leads on each visit. Closed editions stay listed and fade toward grey over time.
Guest checkout, no account. Ships from San Marcos, TX in 2–3 weeks.
Stoneware, iron-saturate glaze
34 × 22 × 22 cm
Nine modules, fired individually to cone 6. Two failed in the first firing; the edition size reflects what survived.
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
Radiolarian Bowl No. 2
A single continuous shell grown from a spherical diffusion field, then cut to a bowl at the height where the pattern closes. Eight survived the firing.
Printed at 0.8 mm nozzle, 1.6 mm layer height. The shell is thin enough that two pieces slumped in the glaze firing; the surviving eight were the edition.
Stoneware, crystalline celadon
28 × 28 × 19 cm
8, signed and numbered
Cone 6 oxidation, single firing
Ruby City, San Antonio (closed)
Online drop (closed)
Studio open house (closed)
The oldest material. The newest form. An old question, asked again.
Orion Hansen makes 3D-printed ceramics under the name Sentient Spaces. Every piece begins as a sketch made by hand \u2014 shaded, exploratory, felt rather than intended \u2014 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.
Nothing living is seamless. Everything that exists has been put together from parts that did not begin as one.
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.
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.
Enquiries through the form
San Marcos, Texas
The studio is not open to the public. Showings are listed on the drops page, and open-house dates are announced in news.