“My vases are a story about light and shade, about how light changes, giving rise to different colors, stunning contrasts. I try to“ catch ”the natural flow of glass before it becomes static”
Passing the gallery
Text: Dilara Muradova
Magazine: N6 (62) 2002
In the very center of London there is an unusual and seemingly completely non-English workshop. The name of its owner - the designer Adam Aaronson - reminds of the nicknames of famous medieval poets, and the vases created by his hands are the works of Oriental magicians ... In this workshop, it seems that light turns into glass, and glass - into stones, melted silver gurgles and gurgles here, merging with the fiery mass of multi-colored glass, and the vases "talk" with each other ... In appearance Adam Aaronson there is nothing unusual: a lean, smart, gentlemanlike - as the English would say, very similar to an English gentleman - as we decided. However, up to thirty years he really did not particularly stand out: a well-educated young man from a good family. In the footsteps of his father, who worked in the UN, received a diploma in international law, then he helped his mother, who opened the glass gallery. Of course, design thinking did not suddenly awaken in him: the contemplation of outlandish colorful vessels from exotic countries constituted the wonderful “content” of his childhood. And after many years, having made a few vases, either for entertainment, or for immediate need, he immediately realized that glass is his real vocation ... Contrary to popular belief about the traditionalism of the English, Adam did not learn from his predecessors. "I was influenced not by the glass designers, but by the paintings, textures, light and shadows, sunsets and sunrises," says the artist. No wonder the series of vessels made Aaron for SALVIATI, called "The Seasons", and the last collection of vases, he gave the name of the Stones ("Stones"). “My vases are a story about light and shade, about how light changes, giving rise to different colors, stunning contrasts. I try to“ catch ”the natural flow of glass before it acquires a static form. The main thing for me is to catch movement akin to the running of the waters or the swaying of the branches and leaves from the wind ... "