Cobolt by Göte Augustsson
Ruda Glasbruk, Sweden – early 1960s
Cobolt is a series developed by Göte Augustsson for Ruda Glasbruk during the early 1960s. A self-taught designer and third-generation glassmaker, Augustsson created a series defined by its almost opaque cobalt blue and richly textured surfaces.
ASSOCIATIONS
IN PRAISE OF SHADOWS
Our interest in Cobolt extends beyond its origin. Its dense cobalt glass recalls Jun’ichirō Tanizaki’s In Praise of Shadows, where darkness becomes part of how beauty is perceived.
Augustsson’s glass behaves in a similar way. Transparency gives way to mass, texture and shadow. Depending on the light, cobalt shifts towards black, while the irregular surface reveals an almost internal glow.
Developed in the early 1960s, the forms also evoke the visual language of the Space Age – planetary surfaces, geological structures and a growing fascination with the unknown.
Cobolt by Göte Augustsson
Ruda Glasbruk, Sweden – early 1960s
Cobolt is a series developed by Göte Augustsson for Ruda Glasbruk during the early 1960s. A self-taught designer and third-generation glassmaker, Augustsson created a series defined by its almost opaque cobalt blue and richly textured surfaces.
ASSOCIATIONS
IN PRAISE OF SHADOWS
Our interest in Cobolt extends beyond its origin. Its dense cobalt glass recalls Jun’ichirō Tanizaki’s In Praise of Shadows, where darkness becomes part of how beauty is perceived.
Augustsson’s glass behaves in a similar way. Transparency gives way to mass, texture and shadow. Depending on the light, cobalt shifts towards black, while the irregular surface reveals an almost internal glow.
Developed in the early 1960s, the forms also evoke the visual language of the Space Age – planetary surfaces, geological structures and a growing fascination with the unknown.
Cobolt by Göte Augustsson
Ruda Glasbruk, Sweden – early 1960s
Cobolt is a series developed by Göte Augustsson for Ruda Glasbruk during the early 1960s. A self-taught designer and third-generation glassmaker, Augustsson created a series defined by its almost opaque cobalt blue and richly textured surfaces.
ASSOCIATIONS
IN PRAISE OF SHADOWS
Our interest in Cobolt extends beyond its origin. Its dense cobalt glass recalls Jun’ichirō Tanizaki’s In Praise of Shadows, where darkness becomes part of how beauty is perceived.
Augustsson’s glass behaves in a similar way. Transparency gives way to mass, texture and shadow. Depending on the light, cobalt shifts towards black, while the irregular surface reveals an almost internal glow.
Developed in the early 1960s, the forms also evoke the visual language of the Space Age – planetary surfaces, geological structures and a growing fascination with the unknown.
