Onyx does not yield easily.

It is softer than marble, more fragile than granite. Formed near the surface of the earth, not compressed within it. It carries natural fissures before a single tool touches it.

And it lets light through.

That is why we chose it. When the flame burns inside a vessel of onyx - white or pink - the stone glows from within. Not a reflection. A transmission. Light moving through matter.

But to carry light, the wall must be thin enough.

Too thick, and the stone holds the light rather than passes it. Too thin, and the piece fractures during cutting - not from error, but from the nature of the material itself.

Onyx has no tolerance for the distance between intention and execution.

The vessels in this edition are finished at eight millimetres. Thin enough to illuminate. Substantial enough to hold.

Some did not reach that point.

Black Marquina asks something different.

It does not fracture. It withholds.

Each block of Marquina carries veins - white lines drawn through deep black stone, unrepeatable, unplanned. But not every piece reveals them. Some emerge from the block too uniform, too still. Close to granite in their silence.

Those pieces were set aside.

What remains are the ones that spoke.

Three stones. Three scents. Each vessel hand-finished. Each formation its own.

When this edition closes, these pieces - their veining, their weight, the specific way they carry or hold light - will not exist again in this form.

Not because we decided that.

Because the stone already did.

- Et De Te