Name: Preserved Garden Vessel
Brand: Marten Herma Anderson
Price: 1600.0 GBP
Availability: InStock

Marten Herma Anderson works across sculpture, design, and architecture, exploring material, memory, and form through ceramic vessels and lighting objects. His work balances fragility and structure, emotion and precision, creating pieces that function as intimate architectures holding light and meaning. Raised on the Baltic island of Rügen, Anderson draws inspiration from coastal landscapes and GDR-era architecture. Using nostalgic and unconventional materials, his vessels and lamps transform everyday references into poetic objects that merge function with emotion.

Marten Herma Anderson

All Objects

Preserved Garden Dried flowers, pressed between the pages of a book, forgotten and then released. These works take that quiet act of preservation as their starting point. The flattened blooms become more than botanical relics. They speak to the forces that shape us, social, familial, generational, the invisible pressures that hold us in forms not entirely our own. Like Anderson's ceramic sculptures, which balance sculptural freedom with architectural precision, these works occupy an in-between state: between care and control, between keeping and confining, between memory and loss. The pressed flower is both relic and portrait. Beautiful in its stillness, it carries the uneasy truth that our attempts to honor nature and each other often sit uncomfortably beside the ways we flatten what is tender, wild, or unruly. Preservation, here, is never innocent. These are objects for holding space, not documentary but atmospheric, containers for memory, longing, and the poetry of overlooked moments.

Preserved Garden
Dried flowers, pressed between the pages of a book, forgotten and then released. These works take that quiet act of preservation as their starting point.
The flattened blooms become more than botanical relics. They speak to the forces that shape us, social, familial, generational, the invisible pressures that hold us in forms not entirely our own. Like Anderson's ceramic sculptures, which balance sculptural freedom with architectural precision, these works occupy an in-between state: between care and control, between keeping and confining, between memory and loss.
The pressed flower is both relic and portrait. Beautiful in its stillness, it carries the uneasy truth that our attempts to honor nature and each other often sit uncomfortably beside the ways we flatten what is tender, wild, or unruly. Preservation, here, is never innocent.
These are objects for holding space, not documentary but atmospheric, containers for memory, longing, and the poetry of overlooked moments.