Beverly Morrison is a Los Angeles–based sculptor whose Modern-Day Relics merge ancient materiality with contemporary design. Guided by an intuitive “sculptural dance,” her handbuilt works balance energy and stillness, embodying nature’s quiet rhythms and raw beauty. Each piece honors imperfection as an expression of presence and impermanence, inviting contemplation through form and texture. Created for discerning interiors, Morrison’s sculptures bring depth, atmosphere, and timeless resonance to spaces of reflection and design.

Black clay, cone 5 to 6, no wheel

Nothing in this collection has touched a wheel or a mould. Beverly Morrison builds by hand in Los Angeles and, for the MidNight Garden sculpture No 122, fires in oxidation at cone 5 to 6, a stoneware temperature that leaves the black body dense and the surface matte under a satin seal. The MidNight Garden pieces are made of carved layers laid one over the next like petals or leaves. No 119 is a lotus. No 120 is a bloom. They are the largest objects here and read as ceramic sculpture first and vessel second. She calls the whole body of work Modern-Day Relics: an old material, clay, taken through a modernist grammar of planes, facets and openings, with every irregularity left in place as proof that a hand was there.

The Gestural Earth group is quieter in form and louder in surface. Vessels in black and speckled stoneware carry long swept marks that run from dark to light, left unglazed and sealed satin so the clay itself, not a coating, is what you see. The Belly vessel adds a sculpted core inside the opening; the Earthwork vessels No 126 and No 129 belong to the same family. Beverly Morrison describes her process as intuitive, a sort of sculptural dance, and these are the pieces where that shows most directly: the mark is the record of the movement that made it. They want to be seen at arm's length, on a console or a plinth, not across a room.

A third set works in pairs. Waizu, a vessel with a recessed oval, exists in black stoneware and in a white blend of porcelain and stoneware. Nami and Small Hanè, the latter assembled from angular planes, come in both clays as well. The Diamond vessels are faceted, white under a satin glaze or black with a satin finish. Shiro III is a hollow white form; Kuro I a black one with a single controlled opening, the most reduced object in the group. No 130, White and Gold, breaks the rule with a metallic gold glaze over swirled ridges. Twenty-two pieces in all, none repeated. Among the sculptural vases at The Oblist, Beverly Morrison is the maker whose vessels lend themselves to being shown as a black-and-white pair.

The Oblist presents Beverly Morrison within its studio ceramics. Clay body, finish and dimensions are given on each product page. Interior designers and architects placing a vessel or a MidNight Garden sculpture in a residence, a hotel or an office can order through the Trade Program.