Vortex is the most technically complex glass sculpture I’ve ever made—three years of pushing material, process, and geometry until they finally surrendered into harmony. Each piece forms a spiraling vortex that tightens like a nest, a controlled collapse where motion becomes structure. The line comes in three sizes, with the small and large designed as a nesting pair—two forms that lock into a sculptural dialogue—while the medium stands on its own as a perfectly proportioned, independent statement. Smooth, architectural, and deeply engineered, Vortex is controlled chaos: glass behaving exactly as it should and simultaneously doing things it shouldn’t.