Colored glass wall hooks set the tone at once: round fixings, copper fittings and layered surfaces turn a simple wall element into something closer to interior glass art. The collection moves between utility and display, using texture, colour and reflection as its main tools. In the same family, trays and a side table carry the same attention to material, with glass changing character as daylight shifts across it. The result is not one object type repeated three times, but a small group of sculptural glass objects with different uses and the same clear visual language.

Three layers of glass, one sharp wall presence

The wall hooks are made through traditional Murano procedures and built from three layers of textured layered glass. That construction gives depth to the colour, so the surface reads differently from near and far. In the images, the hooks sit on a white wall as round glass wall fixtures with small circular mounting points, while copper details mark the point where each object meets the wall. Rather than disappearing into the background, they hold their place and cast light and shadow effect across the surface around them.

Grouped in sets of three or four, the hooks work more like a small wall composition than a single accessory. Some appear in green, others in amber and gold tones, and the glass catches the light in uneven bands. Small bubbles and surface variation remain visible, which keeps the material from looking flat. That tactile quality matters here: the object is read as much by touch as by sight, even when it stays fixed in one position on the wall.

A copper point that changes the reading of the wall

The copper hook is a small part of the object, but it changes the whole read of the piece. Against a pale wall, the metal puncture gives the glass a clear anchor and keeps the form from feeling too soft. The contrast is precise: smooth metal, textured glass, flat wall. In close-up, the coloured glass wall hooks become almost architectural, with each disc-like element acting as a marker of light, colour and spacing.

Trays with a curved top and a removable base

The trays bring a different rhythm. Inspired by architectural forms seen during a trip to Japan, they pair a removable wooden base with a curved glass top. The wood gives the object weight and a clear lower line, while the glass above it bends the view and softens whatever sits inside or beside it. Because the base can be removed, the object feels more like two parts held in conversation than a fixed bowl or standard tray.

In the photographs, the trays echo the same discipline as the wall hooks without copying them. The curve of the glass catches light along its edge, and the wooden base keeps the silhouette grounded. The form is compact, but the volume is strong enough to register from across a room. As sculptural glass objects, the trays sit somewhere between tableware and interior glass art, which is exactly where their interest lies.

Glass and wood kept visibly separate

One of the most effective details is the way glass and wood are not blended into a single finish. They remain legible as separate parts. That makes the tray easier to read in a room with other materials, especially where textiles, pale walls or a stone surface are already doing visual work. The curved top brings a thin highlight along its rim, while the wooden base absorbs light and gives the piece a steadier outline.

An amber side table that multiplies daylight

The amber glass side table extends the collection into furniture. Built in textured glass, it comes in colour schemes ranging from dark amber to lighter tones, and the surface breaks light into many small reflections. In the images, the table appears with a rounded top and a transparent amber base, which throws a strong shadow onto the floor and wall. Daylight does most of the work here, turning the side table into a moving field of highlights rather than a static object.

This is the point where the collection becomes more spatial. The table sits beside upholstery and still reads clearly, because the glass keeps both its colour and its outline. The rounded form adds weight without bulk, and the amber tone holds enough density to remain visible even in a bright room. It is a side table, but it also behaves like a light object, filtering the room through reflections and thin colour.

What the collection does in a room

Seen together, the pieces work through contrast rather than repetition. The hooks are small and fixed; the trays are composed and hand-held; the side table is larger and reflective. All three rely on the same attention to surface, but each one uses it differently. That keeps the collection open to different kinds of interiors, from a pared-back wall setting to a room where an amber glass side table can take in direct sun and project a sharper shadow across the floor.

The visual thread is easy to follow: textured glass, shaped edges, copper details and wood where needed. Nothing is overdesigned into one message. Instead, the collection lets each object hold its own scale and use. For anyone looking for colored glass wall hooks that read like small wall sculptures, or for sculptural glass objects that use light and shadow as part of the form, the group offers a clear and disciplined answer.

Photography: Hupin/Bebronne

Glass: Murano and Treviso