Critic Karen Grøn has described Morten Løbner Espersen as “like Axel Salto on acid.” It’s an inspired thought, pointing directly to the way that Espersen has breathed new life into the modernist legacy of Danish ceramics. His Horror series picks up where Salto’s “sprouting style” left off; serpentine forms achieve liftoff from a central vase form, twisting through space like Medusa’s hairdo. To this compellingly complex form he adds many layers of glaze, a polychrome panorama of effects.