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Among the earliest series in Dale Chihuly’s career,

has evolved and expanded to become one of the most iconic aspects of his aesthetic language. “The glass is defined as a super-cooled liquid. And it’s transparent, like water. And so the idea that the objects end up looking like they came from the sea is no accident. It is almost like water itself,” explains Chihuly about his

series.

With a refined sculptural agility, the 2012 Portland Press Studio Edition

draws its visual strength from the dexterous balance between the elements of the composition. The twisting white body wrap laid over clear glass adds motion to the pair as if the two elements are being swept to and fro underwater. The turquoise lip wrap draws the eye outward, away from the interior’s kinetic energy, to the gentle scallop of the sculpture’s outer edges. Together the two elements correspond with a poised eloquence.

Signed by the artist, the handblown

measures approximately nine inches across and is accompanied by a Plexiglas display case and the hardcover book

. The 112-page Portland Press publication offers an introductory essay by the oceanographer Sylvia Earle and forty-four color photographs.

Portland Press is pleased to introduce the first white Studio Edition in the collection,

.