The “Zagorsk” Vessel SeriesAs if extracted from altars long forgotten and drowned in twilight, these glass vessels are not merely objects but remnants of memory, recovered in amber flesh. They carry the echo of a rite in which darkness and gold, myrrh and dust merge into a soundless liturgy. Their bodies are elongated, distorted, as though prayed out of fire. They are imperfect, like architecture sinking into the earth. Their necks are voices frozen in a posture of prayerful extension.The growths, bubbles, and thorns are tears, arrested breaths, unwept requiems settled upon the skin of glass.Within each form lies a reflection of Zagorsk—hidden, chthonic. Not the fairground city, but the ancient one, with darkened frescoes, icons that have lost their faces, with night incense spilled across blind bell towers. It is a place where darkness and light do not battle but blend into one, like in old enamel.These vessels are not meant for wine or oil. They are containers: for ash, for penitential whisper, for silence that stretches across centuries. They crawl and bow as if burdened by knowledge that must not be spoken. In them lives the memory of a pre-linguistic, pre-iconic world, where glass is not yet glass but the thick tear of the earth.The collection is inspired by ecclesiastical implements, phials, small ritual containers, and the visual memory of lost sanctuaries. These are glass bodies that have forgotten their functions yet preserved their sacred tension. They are mute relics whose forms resemble ritual shards—not from a museum, but from a dream that remembers a church after people have gone.These are not decorative objects. They are the chthonic poetry of glass—frozen breaths of light, dust, and darkness.

Vessel “Ladannik”. Height: 11 cm. Material: borosilicate glass. Technique: lampwork, silver fuming. “Ladannik” is a miniature glass vessel evoking the imagery of ancient reliquaries and sacred objects once used to hold incense, drops of myrrh, or ash. Its form resembles a grain, a seed, or a flame pressed into a prayerful shape—something that guards the essence contained within.The surface is covered with droplet-like growths, as if a scattering of glass incense frozen in a moment of silence.

Vessel “Saborets”. Material: borosilicate glass. Technique: lampwork, silver fuming. Height: 10 cm. “Saborets” is a rounded, gathered vessel, as if holding within itself the luminous weight of a ritual. Its body shimmers from within, as though a remnant of lamp flame still smolders inside. The droplet-shaped growths near the neck resemble oil dripping in a moment of silence.The form evokes ritual phials and ancient reliquaries—objects meant to contain more than mere substance. This is a vessel for blessing, for the frozen breath of ceremony, for an inner warmth that can no longer be separated from the glass.

Vessel “Candle”. Material: borosilicate glass. Technique: lampwork, silver fuming. Height: 13 cm. A unique glass object created using artistic lampwork and silver fuming. The body of the vessel is alive, as if drawn out by a breath, adorned with organic swirls of light and shadow. The sculpture echoes the motifs of old phials, reliquaries, and small ritual vessels, invoking what is sacred and tangible at the same time.

Vessel “Myro”. Material: borosilicate glass. Technique: lampwork, silver fuming. Height: 11 cm. The form of the vessel is simple and whole. Its translucent body shimmers with a soft amber hue, and the surface is adorned with a scattering of glass droplets—like remnants of anointing oil caught in suspension. The elongated feet lift it slightly above the ground, preserving the stillness and dignity of an ecclesiastical object.The upper part is finished with a smooth lid, reminiscent of a drop of incense or sealed light. This vessel is a reminder of a touch that weighs nothing, yet changes everything.

Vessel “Glas”. Material: borosilicate glass. Technique: lampwork, silver fuming. Height: 13 cm. The body of the vessel is twisted into a spiral, as if it were a captured sound at the moment of its birth. It shimmers with an inner light, bending transparency into a golden depth. The surface is covered with an even scattering of glass droplets, as though they are moments made tangible.Its form recalls chanting tones, liturgical modes, the vibration that rises from within a temple—here rendered into matter. This is not merely a vessel; it is a voice without language, a prayer without words, a subtle body capable of resonance.

Vessel “Polog”. Material: borosilicate glass. Technique: lampwork, silver fuming. Height: 13 cm. The body of the vessel is twisted as if it were a piece of fabric gently draped around an unseen sanctuary. Its iridescent tones—from dark amber to transparent gold—create a sense of movement, as though light slowly flows across its surface. The droplets scattered along the form resemble frozen pearls, traces of a ritual left on the inner side of a veil.This is a veiling vessel, containing nothing superfluous—only stillness and hidden depth. It is more than a shape. It is a shell of mystery, woven from glass and silence.

Vessel “Epitimia”. Material: borosilicate glass. Technique: lampwork, silver fuming. Height: 14 cm. The body of the vessel is elongated with austere, almost monastic restraint, covered with droplets reminiscent of penitential sweat or church myrrh suspended in a moment of inner silence. Its surface seems to bear the trace of a long epitimia—heavy and radiant at the same time.

Vessel “Irmos”. Material: borosilicate glass. Technique: lampwork, silver fuming. Height: 12 cm. The body of the vessel is asymmetrical and shifted, as if caught in the moment of the first sound, the first gesture of a ritual. The tilt creates a sense of breath, as though it is about to lean forward—following the voice, following the rite.The head of the vessel is studded with fiery red growths, like rhythmic surges, the accented beats of a chant, as if the form itself is singing.The lower part is transparent, exposed, almost air—like the silence before the beginning.

Vessel “Pelena”. Material: borosilicate glass.Technique: lampwork, silver fuming. Height: 13 cm. The body of the vessel resembles a figure in vestments, enveloped in a soft amber glow. Its proportions echo the steadfastness of icon painting, while the gentle lines create a sense of inner calm and quiet corporeality.The domed lid completes the image like a seal over the mystery held within. The transparency of the glass merges with smoky iridescence—like light filtering through the veil of a morning service.

Vessel “Plamennik”. Material: borosilicate glass. Technique: lampwork, silver fuming. Height: 13 cm. The body of the vessel is rounded, like a stout reliquary, yet it is crowned with a tall blue-transparent spiral—fire without burning, a frozen tongue of flame. Its surface is covered with numerous droplets, like traces of heat suspended at the moment of a flare.This vessel holds not a substance, but the memory of burning. It recalls a night of incense, when the candle is nearly spent, yet the flame still keeps its shape in the air.