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Compositions, presented by aarticles for @3daysofdesign, brings objects from successive collections forward into the company of newer works, where layering becomes a form of co-construction.

Like a conversation built across more than one voice, one object leaves room for another to recompose the whole. Earlier works return with previous arrangements still somewhere in the grain; newer pieces enter a field already warmed by what came before. Meaning gathers in the overlap, in the brief moment before the arrangement moves again.

Exhibiting in Europe for the first time, @vince.skelly presents wooden sculptures; @sharlennozawa shows new Bizen ware from a recent residency in Japan; @juliette.penelope.pepin, ceramics worked through terra sigillata and ash glazes; Jérémie St-Onge of @verredonge, a series of hand-blown vessels in which differences do the work of composition. New work by @studiokuhlmann and @patricia.perales.garcia enters alongside returning makers @christianandjade, @agnieszkaowsiany, @shanegabier, @studio_yeodongyun, @louieij and @annafiedlr.

10–12 June, 10:00-17:00
Christian IX’s Gade 1, 4tv, 1111 Copenhagen

Dripper and Kettle by @studio_yeodongyun. The Seoul-based artist works with metal in its full spectrum: shaped, brushed, coloured, and reconfigured into forms that move between sculpture, object, and installation. At the core of her practice is Jung Jung Dong (靜中動), a phrase she uses to describe her work: stillness that contains movement. Objects that appear stationary retain a subtle vibration, as if resonant with the passage of time.

Discover the series on aarticles.co

Dripper and Kettle by @studio_yeodongyun. The Seoul-based artist works with metal in its full spectrum: shaped, brushed, coloured, and reconfigured into forms that move between sculpture, object, and installation. At the core of her practice is Jung Jung Dong (靜中動), a phrase she uses to describe her work: stillness that contains movement. Objects that appear stationary retain a subtle vibration, as if resonant with the passage of time.

Discover the series on aarticles.co

Dripper and Kettle by @studio_yeodongyun. The Seoul-based artist works with metal in its full spectrum: shaped, brushed, coloured, and reconfigured into forms that move between sculpture, object, and installation. At the core of her practice is Jung Jung Dong (靜中動), a phrase she uses to describe her work: stillness that contains movement. Objects that appear stationary retain a subtle vibration, as if resonant with the passage of time.

Discover the series on aarticles.co

Dripper and Kettle by @studio_yeodongyun. The Seoul-based artist works with metal in its full spectrum: shaped, brushed, coloured, and reconfigured into forms that move between sculpture, object, and installation. At the core of her practice is Jung Jung Dong (靜中動), a phrase she uses to describe her work: stillness that contains movement. Objects that appear stationary retain a subtle vibration, as if resonant with the passage of time.

Discover the series on aarticles.co

Introducing @verredonge, founded in Montréal by Jérémie St-Onge. Verre d’Onge keeps the ancient technique of blown glass close to the hand, while letting the object loosen into character. A vase might seem almost figurative through posture alone, with its neck pinched high or its body gathered low, the surface carrying the uneven record of heat, breath and colour before the glass has fully cooled. Placed together, the vases become a loose family, their differences doing the work of composition.

His vessels come from a close apprenticeship with handblown glass, though the finished pieces keep a certain looseness around technical mastery. Their forms are rounded, swollen or slightly off-centre; colour appears in soft bands, milky fields, moments of sudden density.

Discover the series on aarticles.co

Introducing @verredonge, founded in Montréal by Jérémie St-Onge. Verre d’Onge keeps the ancient technique of blown glass close to the hand, while letting the object loosen into character. A vase might seem almost figurative through posture alone, with its neck pinched high or its body gathered low, the surface carrying the uneven record of heat, breath and colour before the glass has fully cooled. Placed together, the vases become a loose family, their differences doing the work of composition.

His vessels come from a close apprenticeship with handblown glass, though the finished pieces keep a certain looseness around technical mastery. Their forms are rounded, swollen or slightly off-centre; colour appears in soft bands, milky fields, moments of sudden density.

Discover the series on aarticles.co

Introducing @verredonge, founded in Montréal by Jérémie St-Onge. Verre d’Onge keeps the ancient technique of blown glass close to the hand, while letting the object loosen into character. A vase might seem almost figurative through posture alone, with its neck pinched high or its body gathered low, the surface carrying the uneven record of heat, breath and colour before the glass has fully cooled. Placed together, the vases become a loose family, their differences doing the work of composition.

His vessels come from a close apprenticeship with handblown glass, though the finished pieces keep a certain looseness around technical mastery. Their forms are rounded, swollen or slightly off-centre; colour appears in soft bands, milky fields, moments of sudden density.

Discover the series on aarticles.co

Introducing @verredonge, founded in Montréal by Jérémie St-Onge. Verre d’Onge keeps the ancient technique of blown glass close to the hand, while letting the object loosen into character. A vase might seem almost figurative through posture alone, with its neck pinched high or its body gathered low, the surface carrying the uneven record of heat, breath and colour before the glass has fully cooled. Placed together, the vases become a loose family, their differences doing the work of composition.

His vessels come from a close apprenticeship with handblown glass, though the finished pieces keep a certain looseness around technical mastery. Their forms are rounded, swollen or slightly off-centre; colour appears in soft bands, milky fields, moments of sudden density.

Discover the series on aarticles.co

Silver-plated metal cups by Yeodong Yun @studio_yeodongyun

Silver-plated metal cups by Yeodong Yun @studio_yeodongyun

Silver-plated metal cups by Yeodong Yun @studio_yeodongyun

New pieces from @shanegabier, a series of graphical, one-of-a-kind ceramic vases. Made by the New York–based artist whose practice moves between sculpture and domestic form.

Originally designed to hold recipe books open while cooking, Louie Isaaman Jones’s Book Stand functions as both a practical tool and an object display.

Collection 02 presents six book stands with sourced vintage lead loom weights. Every combination is unique, designed to hold pages gently in place.

Originally designed to hold recipe books open while cooking, Louie Isaaman Jones’s Book Stand functions as both a practical tool and an object display.

Collection 02 presents six book stands with sourced vintage lead loom weights. Every combination is unique, designed to hold pages gently in place.

Originally designed to hold recipe books open while cooking, Louie Isaaman Jones’s Book Stand functions as both a practical tool and an object display.

Collection 02 presents six book stands with sourced vintage lead loom weights. Every combination is unique, designed to hold pages gently in place.

Sharlen Nozawa’s work draws from the traditional Korean ceramics of her grandfather’s country, and from the passage of forms and techniques across East Asia. Nozawa is attentive to how ceramic traditions carry histories of colonisation and migration; Japanese ceramics often hold Korean influence, while small petal-like details in some of her cups recall techniques found in Chinese porcelain. She understands them through a wider inheritance, carried through crossings and altered by shared craft.

View the pieces on aarticles.co

Introducing @sharlennozawa in Collection 02. Nozawa makes tableware in Paris, informed by the ceramics she grew up around in Hawaii. Her mother’s collection entered the household gradually: pieces brought from Japan after emigration, then others collected, each one extending the table’s vocabulary without turning heritage into display.

Nozawa does not sign her work. She speaks of visiting museums and finding older pieces that resemble her own, a likeness she welcomes because it places the vessel inside a longer ceramic conversation. Bowls, cups and dishes are made to join what already exists, adding another inflection to forms that came before her. A mark remains, but not always as a name.

Discover the series on aarticles.co

Introducing @sharlennozawa in Collection 02. Nozawa makes tableware in Paris, informed by the ceramics she grew up around in Hawaii. Her mother’s collection entered the household gradually: pieces brought from Japan after emigration, then others collected, each one extending the table’s vocabulary without turning heritage into display.

Nozawa does not sign her work. She speaks of visiting museums and finding older pieces that resemble her own, a likeness she welcomes because it places the vessel inside a longer ceramic conversation. Bowls, cups and dishes are made to join what already exists, adding another inflection to forms that came before her. A mark remains, but not always as a name.

Discover the series on aarticles.co

Introducing @sharlennozawa in Collection 02. Nozawa makes tableware in Paris, informed by the ceramics she grew up around in Hawaii. Her mother’s collection entered the household gradually: pieces brought from Japan after emigration, then others collected, each one extending the table’s vocabulary without turning heritage into display.

Nozawa does not sign her work. She speaks of visiting museums and finding older pieces that resemble her own, a likeness she welcomes because it places the vessel inside a longer ceramic conversation. Bowls, cups and dishes are made to join what already exists, adding another inflection to forms that came before her. A mark remains, but not always as a name.

Discover the series on aarticles.co

Introducing @sharlennozawa in Collection 02. Nozawa makes tableware in Paris, informed by the ceramics she grew up around in Hawaii. Her mother’s collection entered the household gradually: pieces brought from Japan after emigration, then others collected, each one extending the table’s vocabulary without turning heritage into display.

Nozawa does not sign her work. She speaks of visiting museums and finding older pieces that resemble her own, a likeness she welcomes because it places the vessel inside a longer ceramic conversation. Bowls, cups and dishes are made to join what already exists, adding another inflection to forms that came before her. A mark remains, but not always as a name.

Discover the series on aarticles.co

A first image need not have the last word. Collection 02 brings familiar pieces into the company of metal by Yeodong Yun, ceramic vessels by Shane Gabier and Sharlen Nozawa, and glass vases by Verre d’Onge. Earlier works appear again beside these additions, placing continuity at the centre of the collection.

At aarticles, each collection extends a philosophy of living with objects over time. Found objects, sculptural works and pieces by contemporary makers enter a growing catalogue, where earlier objects are seen again under another light through later scenes and new arrangements.

New arrivals available now on aarticles.co

A first image need not have the last word. Collection 02 brings familiar pieces into the company of metal by Yeodong Yun, ceramic vessels by Shane Gabier and Sharlen Nozawa, and glass vases by Verre d’Onge. Earlier works appear again beside these additions, placing continuity at the centre of the collection.

At aarticles, each collection extends a philosophy of living with objects over time. Found objects, sculptural works and pieces by contemporary makers enter a growing catalogue, where earlier objects are seen again under another light through later scenes and new arrangements.

New arrivals available now on aarticles.co

A first image need not have the last word. Collection 02 brings familiar pieces into the company of metal by Yeodong Yun, ceramic vessels by Shane Gabier and Sharlen Nozawa, and glass vases by Verre d’Onge. Earlier works appear again beside these additions, placing continuity at the centre of the collection.

At aarticles, each collection extends a philosophy of living with objects over time. Found objects, sculptural works and pieces by contemporary makers enter a growing catalogue, where earlier objects are seen again under another light through later scenes and new arrangements.

New arrivals available now on aarticles.co

A first image need not have the last word. Collection 02 brings familiar pieces into the company of metal by Yeodong Yun, ceramic vessels by Shane Gabier and Sharlen Nozawa, and glass vases by Verre d’Onge. Earlier works appear again beside these additions, placing continuity at the centre of the collection.

At aarticles, each collection extends a philosophy of living with objects over time. Found objects, sculptural works and pieces by contemporary makers enter a growing catalogue, where earlier objects are seen again under another light through later scenes and new arrangements.

New arrivals available now on aarticles.co

A first image need not have the last word. Collection 02 brings familiar pieces into the company of metal by Yeodong Yun, ceramic vessels by Shane Gabier and Sharlen Nozawa, and glass vases by Verre d’Onge. Earlier works appear again beside these additions, placing continuity at the centre of the collection.

At aarticles, each collection extends a philosophy of living with objects over time. Found objects, sculptural works and pieces by contemporary makers enter a growing catalogue, where earlier objects are seen again under another light through later scenes and new arrangements.

New arrivals available now on aarticles.co

A first image need not have the last word. Collection 02 brings familiar pieces into the company of metal by Yeodong Yun, ceramic vessels by Shane Gabier and Sharlen Nozawa, and glass vases by Verre d’Onge. Earlier works appear again beside these additions, placing continuity at the centre of the collection.

At aarticles, each collection extends a philosophy of living with objects over time. Found objects, sculptural works and pieces by contemporary makers enter a growing catalogue, where earlier objects are seen again under another light through later scenes and new arrangements.

New arrivals available now on aarticles.co

New pieces by @studio_yeodongyun coming in the new collection with series that explores the texture of metal in various ways. Her silver-plated metal objects feel both sculptural and delicate, revealing the strength of the material in every detail.

Launching next Tuesday.

New pieces by @studio_yeodongyun coming in the new collection with series that explores the texture of metal in various ways. Her silver-plated metal objects feel both sculptural and delicate, revealing the strength of the material in every detail.

Launching next Tuesday.

aarticles.co, between collections. The store reopens later this week with new pieces.

aarticles.co, between collections. The store reopens later this week with new pieces.

Collection 02
New and current objects and artists, in dialogue with found pieces.