Each summer for the last three years, Andrea Muribø has lived and worked in different areas of Norway: Kautokeino in the far north, Halsnøy on the west coast, and Vestfold in the south. The three pieces she is exhibiting at Everything is Connected – Strange Fruit, Queen of Reindeer and The Snake – are each constructed from materials sourced on her travels, including moose bone, reindeer horn, peach stone and slate, as well as gold-plated brass.
In Milan this year, Bergsaker presents Aase, a double-sided vanity mirror with both standard and magnifying surfaces. Fitted onto three lacquered steel legs linked by a curved steel bar, the mirror is intended for use on a tabletop.
For Krogstad’s third time exhibiting in Milan, she is creating a series of wall-mounted ceramic plates and bowls of several sizes that question and cross the line between visual art and functional craft. Glazed and coloured to create unique patterns and colour combinations, her Another Season collection evokes the variety of Norwegian nature – fog-shrouded snowscapes, mossy forests and soft pink winter
skies – and acts as her response to the memories and emotions associated with both dining and being alone in nature.
After participating in Norway’s Structure exhibition in Milan 2017, Einarsen returns with Fam, a series of five handmade slip cast porcelain vases in different shapes and colours. With each having the same dimensions at the top and bottom, the vases are
able to be stacked to resemble totem poles, thus transforming a collection of practical items into a sculptural installation.
After a successful exhibition at Structure last year, Barmen&Brekke return to Milan with Make, a series of vessels that combine wheel thrown clay with turned Norwegian wood sourced from the west coast where they live and work. The name comes from a Norwegian word used to describe the way two similar things fit together.
Last year, he appeared at Structure in Milan in collaboration with Falke Svatun with the floor lamp ‘Aerial’—one of the show’s highlights. This year, van den Berg presents the solo work Sheet Cabinet, a wall-mounted piece in galvanised aluminium with movable doors that plays on the distinction between shelving and cabinet, and which raises questions of contact by using conventional outdoor materials and finishes on an indoor product.
Following his collaboration on the Aerial lamp with Bjørn van den Berg at Structure 2016, Svatun returns to Milan with another sculptural lighting project, comprising a family of two steel lamps – a tall standing lamp and a smaller table version. Each is fitted with an LED light source and a tilting head, allowing them to be manipulated to control the direction of light.
Their contribution to Everything is Connected represents an attempt to expand their practice by transforming their usually two-dimensional drawing into three-dimensional artwork. Nomad is a series of objects that explore the concepts of ownership and personal belongings as changes in urban living spaces make our lives increasingly less rooted. Using different materials and considering different functions, from the domestic to the artistic, Nomad is an investigation into the ability of objects to convey a sense of home, wherever their owner might travel.
For their first collaboration, Hallgeir Homstvedt and Runa Klock are working with Lillehammer textile manufacturer Gudbrandsdalens Uldvarefabrik on Lily and Recover, a collection of cushions and other textile products made from rejected materials and offcuts from fabric production. By combining contrasting colours and textures, the two have created a range of upcycled soft furnishings that find beauty and purpose in what would otherwise be discarded as waste.
Their collaboration began with the modular table As Long As You Like, and was followed with Moment, a glass coffee and tea set for Wallpaper Handmade* 2016. For Everything Is Connected, they have created Tangent, a series of lamps with an LED strip light tangentially fixed to a pedestal, enabling them to be positioned to create whatever functional or aesthetic lighting effect is desired.
Named after the island in the Oslo fjord that Stokke often visits to relax, Tjøme is an unusual dining chair inspired by the form and structure of collapsible garden furniture. Constructed by the boat builders of Risør Trebåtbyggeri, it has a frame of Norwegian wood, a padded seat and leather upholstery.
In late 2016, Dahl spent 40 days in Cape Town, where she conducted research into scent and created a limited edition of perfume with local experts. This year, she has worked with a Norwegian distiller to channel her expertise into Norwegian Notes, a series of fragranced objects that can function both as sensory sculptures for the home and vessels for expressing scent in retail settings. Encompassing hanging diffuser and tabletop sculptures, the collection uses scent infused cast wax and paper to convey the aromas of the Norway´s natural landscape and memories, including root of Fjellkvann from Alvdal, pinewood and juniper berry.
Peak is a family of glass vessels, each blown, ground, sandblasted and polished to create a smooth faceted surface, visually referencing the woodland landscapes where Mølstad has lived and worked in the past.
For Everything Is Connected, Yamamoto presents
two new works. Blue Kill Yellow – a series of Japanese silk paintings with patterns that express movement and reflection and a colour palette created with the help of colour-blind collaborators. Sketch for a Tapestry is a material experiment and sculptural installation composed of screen-printed Norwegian and tropical woods.
Olsen’s devotion to visual simplicity and product longevity is evident in Super Normal, her prototype sustainable furniture system in solid oak and burnished steel. Designed for flat-pack distribution and tool-free assembly, the collection includes a chair, dresser and table unit coloured black with linseed oil. Constructed from materials selected for durability and ease of repair, each piece exhibits an archetypal shape, intended to ensure a long lifespan, unaffected by changing style and material trends. The pieces are also highly adaptable; the chair has an adjustable backrest; and the dresser and table can easily have drawers added or removed, allowing them to shift in function between storage and display.
Inspired by a visit to a thrift store and her grand-fathers’ histories in metalwork, Skrin is the result of Andersen’s desire to create a contemporary jewellery box that was a pleasure to hold and which was aesthetically desirable enough to become a treasured possession. Crafted in anodized aluminium by her production partners R-Metall, Skrin has a contemporary and appealing look, a durable finish and a surprisingly lightweight feel.
Made from laser-cut aluminium and then polished by hand, KANA is a versatile graphic side table with a shape that references the characters of Japanese script. The table’s supporting structure continues into a handle, making KANA easy to move around and helping it function either as a standalone piece or alongside other furniture.
Solem has responded to the exhibition’s ‘connection’ theme, with Lampalu, an LED pendant and table lamp, both made from spun and CNC-milled aluminium. Having been born in Arendal, the same city as Sam Eyde, founder of aluminium company Norsk Hydro, where his great grandfather worked, Solem feels a personal connection to aluminium as a material, while also appreciating its strength, pliability and lightness. Both lamps consist of spun aluminium shades with an aluminium sheet that acts as a diffuser, preventing the light getting directly into users’ eyes.
An investigation of how the objects we surround ourselves with both represent and influence our personalities, Trängd is a playful series of abstract ceramic objects with anthropomorphic qualities. Somewhere between living entities, sculptures, 3D paintings and interior decorations, each piece is an exploration of what an ‘object’ means when function is taken away from it, and whether something removed from style or purpose can have an emotional dimension.
Bror is a range of three hand-blown glass containers that are based on the iconic potpourri vessels made by the Gjøvik Glass Factory in the 18th century. Each vessel takes a different traditional potpourri scent as its starting point, translating the fragrances of rose, cinnamon and lavender into forms and textures. Noidoi created the moulds in their Kapp studio and drew upon the traditional skills of glass makers Kari Mølstad (a fellow exhibitor) and Vidar Koksvik to create the three pieces.
Matchbox takes the form and mechanism of a classic cardboard object and translates them into a new material and function. Designed for the storage and display of small objects, the pieces can be used as drawers or shelves, depending on their orientation on the wall, or can be left as freestanding boxes for odds and ends. Each Matchbox comprises a stained ash-wood box with a folded steel sleeve that can be slid over the top – a simple and effective design that emphasises the meeting point of different materials, colours and surfaces.
Stemming from a love of wooden bowls from all cultures and eras, Allen Wood is an extension of the wooden platter collection that Nesdal brought to
Milan in 2016. Working with a local wood turner, she has created a series of five bowls of different sizes, each presenting a modern design aesthetic that
references Nesdal’s influences from Finland and Japan, expressed through traditional Norwegian craftsmanship.
The Bollard Carpet is the result of a collaboration between Aas and Zhang, both of whom live and work in Bergen, a city coloured and characterised by its longstanding marine industry. The pair embarked on an exploration of rope – a typically maritime material. Inspired by the way rope is wound around bollards in Bergen harbour, the handmade carpet makes use of layering to create three-dimensional effects that allow it to be used in different ways. The raised section can function as a headrest, a low stool, or even as terrain for children’s play. The rope itself is made with yarn sourced from the Hillesvåg Ullvarefabrikk wool mill and turned by the rope makers of Hardanger Fartøyvernsenter – the only place in Norway where the country’s rope-making tradition survives today.
The Dwell bench is a tribute to the Shaker design philosophy, whereby an item of furniture is in itself a physical expression of guiding design principles. Concepts such as order, union and purity are represented in the symmetry, scale and simplicity of form shown in the finished piece. In Dwell, these timeless values are embodied in stained wood and lacquered steel by a bench that is rationally constructed, clean-lined and emphatically functional.