Atelier Monochrome brings the centuries-old art of Beijing Glass into a contemporary collection of sculptural vessels.

We were drawn to the extraordinary depth of colour, the precision of the hand-cut surfaces and the way each object changes with the light. At first glance, the forms appear clear and architectural. Seen more closely, they reveal the complexity of a material built in layers and finished entirely by hand.

The collection is produced only in limited quantities. Each piece requires months of work and the knowledge of specialist artisans who understand both the behaviour of molten glass and the precision required to cut and polish it.

Unlike colour applied as a surface decoration, the colour of Beijing Glass is part of the object itself.

Several layers of molten, pigmented glass are fused together, creating a substantial glass body with remarkable chromatic depth. While still incandescent, the material is carefully formed into its initial shape.

Each layer must work in harmony with the next. Together, they create the density, luminosity and subtle transitions of colour that define the finished vessel.

But the form that emerges from the heat is only the beginning.

Once formed, the glass must cool slowly over several days before the cutting process can begin.

The surface is then worked entirely by hand. Selected areas are carefully cut away to define facets, sharpen geometries and reveal the relationship between the different layers of colour beneath.

The techniques used to cut and finish the glass draw on methods traditionally associated with jade carving. They require patience, control and an exceptional understanding of the material. Every incision is permanent; a cut made too deeply cannot be reversed.

The vessel is then polished repeatedly by hand until its planes become smooth, its lines precise and its surface luminous.

The process does not simply add a pattern to the glass. It reveals what was already held within its layers.

Light is an essential part of every piece.

As it moves across the hand-cut surfaces, some areas appear dense and saturated while others become translucent. Individual facets catch, reflect or absorb the light differently, giving the object a sense of depth that changes throughout the day.

This interaction between colour, geometry and light makes the vessels difficult to fully capture in a single photograph. Their character continues to shift as they are viewed from different angles and as the surrounding light changes.

From the first layering and shaping of the molten glass to slow cooling, hand-cutting, polishing and final inspection, a single vase takes at least two months to complete. More intricate forms may require considerably longer.

Every stage depends on the one before it. The glass cannot be cut until it has cooled completely, and its final clarity appears only through repeated, meticulous polishing.

This extended process naturally limits how many pieces can be created. Subtle differences in colour, cutting and proportion remain from one vessel to another, making each finished object individual.

The Overlay Collection brings together forms including the Classical Column, Double Gourd, Hexagon and Octagon vessels. Their silhouettes reference classical decorative objects, while their clean proportions, saturated colours and precisely cut surfaces give them a distinctly contemporary presence.

Produced in exceptionally limited quantities, each vessel exists somewhere between decorative object, sculptural form and collectible glass art.

It carries within it layers of colour, months of specialised handwork and the unmistakable depth of an object that cannot be produced anonymously or at scale.