We're thrilled to announce that Pittsburgh's Carnegie Museum of Art has acquired the sculpture MP II by Karen Bennicke. The terracotta sculpture was featured in Bennicke's solo exhibition Manhattan Portraits last autumn and offers a cartographic reinterpretation of the city of New York, its architecture, and its flows of movement. The title of Bennicke's exhibition refers to a project carried out in the late 1970s by architect Bernard Tschumi titled The Manhattan Transcripts — a series of diagrams, photographs, drawings, and short texts which approached architecture through the use of narratives of motion, which is also housed at the Carnegie Museum of Art. 

In her exhibition, Nature and Glaze, Bente Skjøttgaard invites us on a personal journey through her body of work. In a display of 14 themes, she recounts her artistic development, works, experiments and exhibitions, illustrating how one idea often naturally has led to the next. From her graduation from Kunsthåndværkerskolen (School of Arts and Crafts) in Kolding in 1986, we follow her early explorative experiments with the balance between function and aesthetic that led to her design of organically shaped bathroom experiments during the 1990s, among other outcomes.

There is a peculiar quality to candlelight — still but never static, pulsating, shifting in response to small fluctuations in the atmosphere — which is shared by the gestural, unspooled coils, tenuously slumped loops, and pinched and spliced lengths of clay which make up Marks’ sculptural fabulations. His ceramics appear as though drawn incongruously in three dimensional space, dancing doodles materialized from the air. Many are riotous with rainbow glazes pooled atop one another. They constitute a visual parade of color, line, and form. Marks compares them to the spontaneous rhythms of jazz, observing, “The moment I love is the moment when you ask, ‘Where did that come from?’”

Sakari Kannosto's newest monograph Divinations is available from Galleria Sculptor in conjunction with his solo exhibition "Oblivion." The monograph provides a survey of over 25 years of artmaking by the Finnish sculptor. It includes an essay by curator Maaria Salo.

This monograph presents Bente Skjøttgaard's experimental work with clay and glaze, spanning nearly 40 years and unfolding a wide range of themes, often inspired by nature. Danish ceramic artist Bente Skjøttgaard is particularly known for her glaze work. She balances on the edge of what is possible, and her explorations evolve into large amorphous nature abstractions, generously glazed. With essays by acclaimed experts in the field such as Christine Germain-Donnat and Garth Johnson as well as artist colleague Martin Bodilsen Kaldahl, and an additional 'photo novel' describing the background and process through images and narrative text, this lavishly illustrated volume sheds light on one of the important figures in the rich ceramicist scene in Denmark.

Please join us in the gallery on Saturday, March 29 at 2 pm for a conversation with exhibiting artist Graham Marks and his friend and fellow artist Nancy Blum. Marks’ exhibition, For Joy and Grieving, presents close to four dozen sculptural candelabras, each endowed with an improvisatory, cut-and-paste approach to hand-building. The exhibition is on view through April 19.

Graham Marks produces exuberant, coil-built ceramics adorned with vibrant glazes, which combine functionalism with visual delight. Of late, Marks has embraced loose, sinuous forms from which coils of clay spill in dynamic and improvisatory compositions. His candelabras and flower vases contain a wild energy all their own, full of brash, linear abandon. In their merging of pattern and embellishment, they recall the intricate crafts of eighteenth-century France, bringing rococo flourishes to the timeless theme of utilitarian vessels.

From clean-lined furniture gleaming with resin-applied raindrops to painterly candelabras that resemble doodles frozen in time, March heralds a season of rebirth, renewal, and new beginnings. As temperatures start to rise and flowers bloom again, there’s no better time to rekindle one’s passion for fine art and collectible design. To set the mood for the season, we rounded up an itinerary of stellar exhibitions that will sate one’s appetite for impeccably made objects of desire. We gaze at Nel Verbeke’s dusky luminaires on the Upper East Side, head out to the Hamptons for a clever pairing of two unsung Brazilian luminaries, and journey across the pond to learn about Max Lamb and Tim Vranken’s divergent yet scintillating approaches to wood furniture.

It was Valentine’s Day 1998 when Kim Hostler and Juliet Burrows fell in love—with a house. The Manhattan-based couple, founders of Hostler Burrows gallery, had been looking for a place in upstate New York when, on that fateful snowy afternoon, their intrepid real estate agent led them down a dirt road. “It looked like a Swedish country home,” Burrows recalls of the cabin, hand-built by its previous owners and covered at the time in red clapboard. Its vernacular instantly appealed to the couple, given their then newly opened gallery’s speciality in Scandinavian antiques. “I call it our little handmade house,” says Hostler, still crazy about its pine-clad living room and fireplace of hewn local stone.

Design writer Sisse Bro visited the ceramics fair in Brussels, where Danish and international artists and craftspeople meet in a ceramic crossroads.

On view from January 23 to January 26 at the Tour & Taxis exhibition center, this one-of-a-kind fair is dedicated to the art of ceramics.

Bennett Leifer’s clients anticipated an effortless design project. After all, the full-floor Manhattan apartment they’d acquired was recently constructed, requiring only furnishings and finishing touches. But at their first concept meeting, the designer put forth a bold proposition. “Listen,” he told them, “you are either going to fire me or think I’m a genius.” Fortunately, they thought the latter following Leifer’s proposition to maximize the interiors and 360-degree vistas through a transformative renovation.

Until January 26, Tour & Taxis will once again host Ceramic Brussels, which is returning this year with an expanded second edition following the popular and critical success of the inaugural fair in 2024. It’s the perfect opportunity to highlight artists from a wonderfully eclectic (and delightful) program.

In "Winter Tales," Finnish artist Pekka Paikkari weaves a poignant narrative of wintry landscapes—fractured, raw, and achingly poetic—at HB381 Gallery, on view through February 22.

Eight contemporary Swedish glass artists are featured in the 2025 release, including Frida Fjellman, Rasmus Nossbring, and others. 

Announced for 2025, Bente Skjøttgaard's solo exhibition Nature-Glaze will showcase works ranging from her early career to her newest experiments.

Swedish-born artist and designer Hanna Hansdotter's innovative approach to glassmaking infuses the age-old art with an air of rebellion. Her one-of-a-kind designs presented by Hostler Burrows at Design Miami are achieved by confining hot glass to a sturdy iron framework. She creates soft silhouettes by forcing the malleable material to ooze and slump through the metal cage. Using large tweezers, Hansdotter adds an individualistic edge to each final form.

The John Michael Kohler Arts Center has announced the 12 artists selected for the 2025 Arts/Industry residency program, including Brooklyn-based ceramic artist Eun-Ha Paek.

The Taito-Finlandia Prize has been awarded to Marianne Huotari. The award recognizes excellence in the arts and crafts. Read the full announcement from the Tampere Fair.

Throughout Autumn and Winter 2024/25, CLAY Museum of Ceramic Art Denmark presents ‘Martin Bodilsen Kaldahl: Cuts, Stripes, and Knots – A Ceramic Retrospective’. Read curator Christina Rauh Oxbøll's essay on the exhibition.

Kirsi Kivivirta and Bente Skjøttgaard's exhibition has been featured in Ceramics Now.

Drawing from the collection of the Minneapolis Institute of Art, this exhibition at the Wells Fargo Center in downtown Minneapolis showcases the delights and talents of women in the fields of modern and contemporary industrial design and craft. Studio ceramics include works from important American ceramic educator Laura Andreson, Finnish contemporary artist Kirsi Kivivirta, and clay sculptor Karen Karnes, among others. The exhibition is on view in twenty cases in the ground-floor concourse and skyway levels of the Wells Fargo Center in downtown Minneapolis.

In Alchemists’ Convention: A Ceramic Meeting between Past and Present, Bente Skjøttgaard follows in the footsteps of the French ceramicist Jean Carriès. Working from a photocopy of the article “Céramique de grand feu” published after Carriès’ death and said to have taught Europe how to make stoneware, Skjøttgaard reproduced elements of his glaze for her series Family Trees, which she describes as witnesses to the passage of history.

The American specialists in Scandinavian ceramics—with galleries in New York and Los Angeles—filled their first floor room with large-scale works including glossily glazed animals by Jasmin Anoschkin. “It has a cartoonish, fantastical quality,” said Juliet Burrows of the hybrid creatures stalking across the floor. “It’s the world of the childhood imagination.” The Finnish artist uses glaze in a liberal layered way, to complete these wide-eyed quadrupeds.

Karen Bennicke's solo exhibition "Manhattan Portraits" has been featured in the October relaunch of Ceramics Now Magazine.

This monograph presents Martin Bodilsen Kaldahl’s experimental work in clay sculpture. His compositions and materializations are the result of intuitive improvisations and a direct yet subtle response to material and spatial qualities. Kaldahl has worked with a myriad of spatial themes and ornaments that frequently reappear in his formal vocabulary, and which arise out of a methodical, gradual, and experimental process. This catalogue includes an introductory essay by Brooklyn-based curator, writer, and historian Glenn Adamson. Copenhagen-based writer and curator Jorunn Veiteberg draws connections to contemporary and historical developments with ceramic practices in fine art and craft. Further, Kaldahl’s own voice is present in the publication in a number of highly engaging statements.

Frida Fjellman's work lives somewhere in between art, design, and craft. Her pieces – with titles such as Hubba Bubba, Manhattan Babe and Marie-Antoinette – have reached Swedish and international audiences alike, and she is currently celebrating the release of her monograph Frida Fjellman. Malin Ebbing meets Frida in her studio to talk about how her coveted chandeliers came about, which of her ceramic animals she identifies with, and what she does on a day off in New York.

Martin Bodilsen Kaldahl is the recepient of an award from the Danish Arts Foundation for his exhibition Cuts, Stripes, and Knots – A Ceramic Retrospective at the CLAY Museum of Ceramic Art in Denmark.

Jasmin Anoschkin and Veera Kulju are featured in the Carnival of Clay exhibition, opening on October 5 at the Art and Museum Center Sinkka in Kerava, Finland.

Hanna Hansdotter is one of five featured artists in the Forêts astrales exhibition, on view at the Institut suédois as part of Paris Design Week.

Jasmin Anoschkin invites Helsingin Sanomat on a tour of her art-filled home

Sculptor Sakari Kannosto's exhibition The Age of Aquarius opens on Saturday, August 3rd, featuring a series of sculpted mermaids, clairvoyants, and oracles.

Danish art-writer Charlotte Jul shares an excerpt on Karen Bennicke and Peder Rasmussen from the book Danish Creatives.

Bennicke and Rasmussen are two of Denmark’s most experienced ceramic artists. While they have lived and worked together for the past 52 years, their practices are very different. Karen’s works speak to the idioms of architecture, mathematics, and Constructivism, while Peder’s work tells singular stories through archetypal forms, symbols, decorations, and references.

Contemporary works by five of today’s most distinguished Scandinavian glass artists are beautifully arrayed at HB381 for the Manhattan gallery’s annual Summer Group Show. Spotlighting Stine Bidstrup, Lene Bødker, Frida Fjellman, Hanna Hansdotter, and Maria Koshenkova through August 16, the exhibition is brimming with dazzling confections that represent an array of techniques including casting, mouth-blowing, sand-blasting, and mirroring. Each of the five women produce works of differing forms and functions, with some favoring hard-edge crystalline shapes and others going a more Baroque, organic route—but they are all united by their desire to push the bounds of what is possible through the famously finicky medium.

For more than five decades, ceramicist Martin Bodilsen Kaldahl has created works with a strong physical presence and restless energy. His upcoming exhibition Cuts, Stripes and Knots at the CLAY Museum of Ceramic Art Denmark will be the largest retrospective of his life's work to date.

Held at Pirunvuori, Kivilinna and Culture House Jaatsi in Sastamala, Finland and curated by Kannosto, the group exhibition features works by a selection of contemporary Finnish artists.

Artist Frida Fjellman's most recent monograph is published with the support of the Stiftelsen Längmanska Cultural Fund and the Estrid Ericson Foundation. The book provides photographic documentation of Fjellman's major works from 2005 to present. It is accompanied by the essay "Frida’s World of Fables" by Bo Madestran.

Marianne Nielsen is the recepient of an award from the Danish Arts Foundation for her solo exhibition Leaf, stem, twig.

Marianne Huotari and Pekka Paikkari are featued in Paratiisi – Collection Kakkonen & Marianne Huotari, Ninni Luhtasaari, Pekka Paikkari and Armi Teva, on view at the Kuopio Art Museum from June 7–September 1, 2024. 

The exhibition GLAS!!! Danish Experimental Glass Art presents 12 of Denmark’s leading experimental glass artists. The exhibition’s distinguished lineup conveys both the current diversity and the trends that point forward in both figurative and abstract glass art. The participants have been chosen to show the diversity that has emerged in recent years, with glass artists challenging the traditional function of glass with experiments in both material, technique, expression and narrative. The artists bring glass into a visual artistic context by creating sculptures and installations from the “unstable” material. 

On June 3, the Swedish Minister for International Development Cooperation and Foreign Trade Johan Forssell presented the government's Export Award for Cultural and Creative Industries 2023. The award, established in 2017, is decided by a jury comprising representatives from the cultural and creative sectors. This year's award went to Svenskt Tenn, which is celebrating its 100th anniversary. Hanna Hansdotter, one of today's most interesting and innovative glass artists, was recognized as this year's rising star.

The Baden Rug Won in the Residential Flooring Category

Marianne Huotari's Baden rug, designed for Finarte, has been selected for the 2024 NYCxDESIGN Awards, winning first place in the Residential Flooring category.

Hostler Burrows, a gallery with outposts in New York and Los Angeles, is offering works by the Danish artists Karen Bennicke (b. 1943) and Marianne Nielsen (b. 1971). 

A scientific-like methodology and an interest in the phenomena of the very obvious and the banal (and often overlooked) define Marianne Nielsen’s ceramic works. She strives to obtain a visual understanding of what is commonplace, the minutia that surrounds us. 

Art lovers and collectors often look forward to Independent New York’s annual fair because of its curated selection of invitation-only works from artists working across the world and represented by international galleries. 

This year’s 15th anniversary edition at Spring Studios in Manhattan’s Tribeca neighborhood won’t disappoint with 37 galleries, of a total of 88, coming to the fair for the first time. Many will bring artists who are having their New York debut. 

The walls are covered in transparent boxes filled with soft-hued ceramic scraps. I’m not the first one to describe the scenery as something akin to a candy store.

The ceramic studio, nestled in the old Arabia factory, belongs to artist Marianne Huotari. She is best known for her ceramic rya tapestries, which she creates by sewing ceramic pieces onto a metal frame using wire. Marianne originally graduated as a textile designer and won a tapestry design competition in 2015 with a rya — she then discovered that she could recreate textile-like structures using clay as her medium.

“I was captivated by ceramics; its hardness and lasting durability. I envisioned just how fascinating the surfaces would become when weaving shiny and matte pieces together.”

Among the luxurious estates of the Gold Coast, Kristin Fine has completed work on a villa in Long Island. 

Arabia Art Department Society has chosen Veera Kulju as a new artist member.
Kulju previously worked as the Society’s visiting artist in 2017-2018, and will start working at the Art Department in April 2024.

Sakari Kannosto (b. 1973) lives in Vantaa and works in Helsinki and Espoo, Finland. He graduated from the Academy of Fine Arts 2005. Kannosto has exhibited widely since 1998, and his work has been shown in various fairs in the USA. After completing an artist-in-residence at the Arabia Art Department in Helsinki, he became a permanent member in January 2020. His work can be found in the collections of Aalto University, the Finnish State Art Deposit, and the Art Museum of Tampere. He is represented by Hostler Burrows in the USA. 

The Independent art fair has named the 77 exhibitors that will participate in its upcoming New York edition, which is scheduled to run May 9–12 at Spring Studios in Tribeca. As was the case last year, Independent will not align with Frieze New York, which is to be staged the week prior.

The 2024 iteration of Independent marks its 15th anniversary, with its first edition held at the former Dia building in Chelsea in 2010 during Armory Week.

Shozo Michikawa contorts clay and captivates crowds during a live demonstration at HB381.

All eyes are on Japanese ceramicist Shozo Michikawa’s latest expressive, gestural sculptures at Hostler Burrows’ Tribeca outpost, HB381.

Three exquisitely crafted contemporary designs that demand a closer look

Some of our favorite designs of late are marked by intricate, incredible detailing born of unseen, countless hours spent in the maker’s studio. This week, we spotlight pieces by three inspiring designers—Marianne Huotari, KAKU, and Lukas Wegwerth—whose work embodies patient, mindful, meticulous hands-on processes. Each, in their own way, weaves together time-honored craft techniques and resonant cultural touchstones—resulting in contemporary pieces that transport both makers and admirers beyond the everyday.

Clear geometric shapes are all about lines. Repeated and simple patterns create lines that help the eye to clearly perceive an object or surface. Geometry gives the whole a sense of proportion.

Marianne Huotari, ceramics artist and Finarte's chief designer, is overjoyed when she finds the right color combination — and is on the verge of world conquest.

Huotari, 37, Master of Arts, lives in Helsinki with her husband. She works in ceramics at the Arabia Art Association and is the chief designer at Finarte.

Donna Green wrestles with coils of stoneware, manipulating and prodding to create anthropomorphic gestural shapes that burst and stretch into space. Her physical experimentation challenges the properties of the clay, resulting in works that seem to be in a constant state of growth and transfiguration; heroically scaled urns undulate and drip with layer upon layer of glaze.

Top 5 Art Fairs To See During Art Basel Miami Beach 2023

Design Miami December 6th-10th, Preview Day December 5th, Miami Beach Convention Center

We know this isn’t strictly an art fair but they usually show works that look like better art than a lot of the art at the art fairs. Featuring over 40 gallery and Curio presentations that respond to the curatorial theme, “Where We Stand.” Additionally, there are more than 20 brand collaborations, including partnerships with Maestro Dobel, Birkenstock, Kohler, and Audi

The Brooklyn-based ceramic artist Eun-Ha Paek’s pieces are defined by their renegade spirit. A recent work, a foot-high stoneware form, resembles a child’s stick-figure drawing, but with a Surrealist bent: Instead of a head, it has a blue-and-white delftware-style dinner plate; instead of eyes, there are painted butterflies. “I like combining serve ware with food shapes, as if elements of a meal had come together and were having a dinner party,” says Paek, who builds her works’ hollow extremities, including legs that look like hot dogs, with a machine called an extruder and molds other parts by hand before coating the finished forms with cobalt and iron oxide washes and glazes. 

When it comes to collectible Nordic art and design, you would be hard-pressed to find two American dealers better versed than Kim Hostler and Juliet Burrows, life partners who founded their eponymous Manhattan gallery 25 years ago, before Hans Wegner and Finn Juhl were household names. Today, Hostler Burrows has a second location on Melrose Avenue in Los Angeles, as well as an art gallery, HB381, in New York’s Tribeca neighborhood, which specializes in contemporary sculpture and ceramics—an offshoot of their passion for Nordic sensibilities and a curatorial outlet for Burrows, who has organized 10 shows, with six accompanying artist catalogs thus far.

Throughout his career, Ipsen has explored and experimented with myriad themes emphasizing form and composition, as well as spatial context. Primarily employing hand-built circular, elliptical, and biomorphic shapes, his work reveals a methodical approach that is both complex and refined in structure. His Ellipse sculptures are accented with interwoven strands of PVC, resulting in an optical expression of surging movement within the object. The monochromatic Organic pieces are created intuitively—a series of idiosyncratic undulating forms.

Steen Ipsen, a graduate of the Royal Danish Academy and the Kolding School of Design, headed the academy's ceramics and glass department for several years. Thanks to his inclusion in major international collections, in particular at the MAD Museum in Paris and the Victoria and Albert Museum in London, his work is widely known throughout the world.

Arabia's ceramics factory closed in 2016, but ceramic art continues to be made in the premises of the former Arabia art department. The dozen or so artists of the Arabia Art Department Association cherish traditions and brilliantly renew ceramic art in their studios.

At the beginning of July, the premises of the Arabia Art Department Association are quiet. Of the ten artists, Marianne Huotari, Sakari Kannosto and Kati Tuominen-Niittylä are busy with work and are preparing their works for the association's 20th anniversary exhibition.

The art department association is located on the eighth floor of the former Arabia factory, and in its corridors you can get a glimpse of what goes on behind the green painted doors of the studio rooms.

On Tuesday, Design Miami made an auspicious debut, not only owing to its ne-plus-ultra roster—many of the galleries showing in their hometown—but also to its extraordinary venue: the Hôtel de Maisons, an 18th-century mansion near the Musée d’Orsay that Karl Lagerfeld called home for roughly two decades (last month, it drew attention as the location for the Marni show).

Opening October 14 at Scandinavia House, Narrative Threads: Works by Eight Nordic Artists presents multi-media artwork by Nordic artists, each distinguished by their innovative use of natural, synthetic, and digital materials. Exploring Nordic craft traditions through a contemporary lens, the works in the exhibition engage with material experimentation, and digital technology. Textile design, ceramics, stitching, painting, audio recording, and assemblage unleash diverse narrative expressions and perspectives. The exhibition will feature the work of eight internationally celebrated artists: Margrethe Aanestad (Norway), Hrafnhildur Arnardóttir / Shoplifter (Iceland), Hildur Ásgeirsdóttir Jónsson (Iceland), Hildur Bjarnadóttir (Iceland), Astrid Krogh (Denmark), Heidi Hankaniemi (Finland), Marianne Huotari (Finland), and Kristina Riska (Finland). The works in the exhibition explore personal histories and intergenerational discourse, while influenced by ages-old handicraft techniques and cultural traditions.

Anoschkin’s exuberant aesthetic springs from an amalgam of sources, melding the languages of contemporary folk art, pop culture, and the toy industry. The artist’s naïve renderings of hybrid animals are conjured from her own imagination and personal experiences. These animated works are strikingly fresh in their playfulness, yet they belie deeper qualities confronting issues around otherness and the ways in which “different” beings live in the world.

Anoschkin creates spirited sculptures from wood and ceramics, with a strikingly personal touch. The successful Finnish artist's second New York exhibition opens in September at HB381 gallery.

The Arabia Art Department Society's 20th anniversary show Northern Latitude 60.20890 opens at the Iittala & Arabia Design Center on September 14, 2023 and will be on view through January 28, 2024. The exhibition of Finnish contemporary ceramics is curated by New York-based gallerists Juliet Burrows and Kim Hostler. It is accompanied by a catalog, Arabia Art Department Society: 20 Years, featuring an essay by Burrows. 

Jasmin Anoschkin creates her sculptures entirely by her own hand, whether she is carving wood with a chainsaw or molding clay. Eschewing attempts at technical perfection, she does not hide evidence of these physical processes, embracing uneven surfaces or unexpected glaze effects in her ceramic works. Her whimsical yet poignant characters and the dreamlike world they inhabit suggest an alternative to the rigid and narrow societal standards of what is valued and accepted. 

New sculptures by Jasmin Anoschkin are on view at the Wäinö Aaltonen Museum of Art in Turku, Finland through September 17, in the exhibition "Hei tyypit!”

"Hei tyypit!” highlights contemporary Finnish sculpture, featuring works by Anoschkin, Mia Hamari, Johanna Havimäki, Kim Jotuni, Hanna Makkonen, and Tiia Matikainen.

Utilizing clay, wood, and glass in a versatile manner, Anoschkin creates artworks whose roughly hewn shapes seem to have sprung directly from a child’s vivid imagination; her characters are unashamedly themselves. 

Bjørn Friborg is a Danish glass artist based in Denmark. Friborg challenges traditional methods of glass-making with a physically demanding approach that stretches the limits of both the material and technique.

In conversation with STIR, the Danish furniture designer and artist explains that he is a “hands-on artist, deeply involved in the tangible material he is exploring as well as in the intellectual perspectives of a given project.” Resistance is a key focal point for Jørgensen, who is thrilled when materials put up a fight, and he has to grapple and tussle with them in order to “bring out their core.” The artist is committed to locating the very essence of the thing he works with, and extracting the form, however challenging that task may be. His process is one that is very personal to him, and often holds him enraptured for the duration of a project. It takes him to a meditative state, where there is little else save the artist, his material and the sculpture practice that binds them together.

Meer is an innovative information channel providing a constant stream of updates, stories and articles written in six different languages

The artists of the Arabia Art Department Society are featured in the new exhibition “Atelier Life,” on view at the Hvitträsk Museum in Finland through September.

The new issue of Acne Paper is created around the idea of a house with a fantasy collection of furniture, art and objects. To furnish our imaginary house we have been searching through time and place for the unique: from the most interesting pieces by contemporary designers, to iconic items in the history of decorative arts, from surreal objets d’art, to ancient antiques and invaluable masterworks.

Please join us in the UrbanGlass Studio on June 21 for an engaging glassblowing demonstration on the eve of Friborg's solo exhibition.

Martin Bodilsen Kaldahl is a ceramic artist based in Copenhagen, Denmark. He has worked with a myriad of spatial themes and ornaments that frequently reoccur in his formal vocabulary, and which emerge through a methodical, gradual and experimental serial process. Notably, the knot as a shape has been a leitmotif offering possibilities for various sinuous rhythmic cadences and abstract narratives. The hand built architectonic works appear as ‘spatial drawings’–solid, twisting and turning through space. Kaldahl’s interest also lies in the potential of the object to make a direct emotional impact on the viewer. The motif is always clear in its simplicity and easily decoded while remaining open to interpretations.

Join us for a virtual talk with Glenn Adamson and Martin Bodilsen Kaldahl, on the eve of Kaldahl's solo exhibition Probing the Floor, Sniffing the Air.

HB381 is thrilled to partner with Greenwich House Pottery in hosting a pop-up exhibition and sale to raise funds for the organization's Shape the Future Capital Campaign. The exhibition will be comprised of pieces from the Pottery’s Collection and art donated by patrons as well as contemporary makers, including work by Toshiko Takaezu, Roberto Lugo, Kathy Butterly, Nicole Cherubini, Robert Sperry, Linda Lopez, Peter Lane, and others.

Greenwich House Pottery is a historic ceramics studio serving the New York community for over a century. The Shape the Future building project and supporting campaign was launched to address urgently needed upgrades and modernizations to the historic 95-year-old facility, to ensure that the studio remains a vital resource for ceramic artists and enthusiasts for generations to come. For more than a century, Greenwich House Pottery has advanced ceramic arts, culture, and creativity through classes taught by highly skilled teaching artists, exhibitions, and artist residencies. 

Jakob Jørgensen was born in 1977 in Nyborg, Denmark. As his interest in large scale steel sculpture developed, he submitted a proposal to the Danish National Workshop in 2017, and was granted access to their vast metalworking facilities. He continued his exploration of the medium, building a dedicated studio tailored to working with steel pipe on the island of Bornholm in 2020. Jørgensen’s work has been exhibited internationally in solo and group exhibitions including at the Musée d’Art Moderne de Paris, France; Louisiana Museum of Modern Art, Humlebæk, Denmark; Designmuseum, Copenhagen, Denmark; and the 21st Century Museum, Kanazawa, Japan. He has been the recipient of numerous awards and grants including the Finn Juhl Prize, the Bodum Design Award, and the IFDA Goldleaf Award.

From his workshop on a remote island in the Baltic Sea, the artist crafts extraordinary totems using industrial pipes. 

For the past two years, a dazzling type of alchemy has been taking place on the remote Danish island of Bornholm, a Baltic Sea stronghold that’s geographically closer to Poland and Sweden than Denmark. There, amid the rugged sylvan landscape, one of the country’s leading creatives, Jakob Jørgensen, has conjured a veritable forest of captivating totems by welding and further manipulating low-carbon steel pipes. Taking inspiration from the wooded island’s abundance of trees, the monumental works resulting from this painstaking process have now gone on view at HB381, the contemporary art gallery founded by Juliet Burrows and Kim Hostler in Tribeca.

With his first solo exhibition within the United States just around the corner, Jakob Jørgensen’s sculptural works have grown – both in scale and ambition. These latest works mark his individual practices transition from a design led studio to one that is exploring materiality and the purely sculptural. What remains from his first tubular steel piece back in 2017 through to this latest collection is Jørgensen’s inquisitive nature towards his chosen medium – heating, pushing, expanding, compressing and deforming the humble steel tube in order to create new expressions.

John Shea’s practice belongs with equal comfort to pottery, painting, sculpture, and installation art and yet—a free radical—it belongs exclusively to no one camp. Instead, the work lives confidently in a world of in-betweens. The result feels nuanced, self-nurturing, and balanced. In a world suffering from extremes and tribalism, Shea’s formalism dwells happily in the middle.

Launched last spring as an offshoot of collectible design gallery Hostler Burrows, HB381 is a dedicated space for solo artist presentations focusing primarily on contemporary Nordic sculpture and ceramics. The Tribeca gallery’s current show—Standard, Abstract—features American ceramic artist John Shea’s latest body of work. 

HB381 is the kunsthalle-style offshoot of the more established New York collectible design gallery Hostler Burrows. Since its inception last spring, HB381 has focused on showcasing interdisciplinary talents who attempt to free sculpture from limited definitions of art and design.

American talent John Shea demonstrates this philosophy with the transcendent ceramic sculptures in his “standard, abstract” solo show—on view from January 13 to February 25. His abstract sculptures are defined by intersections, where smooth geometric planes are interrupted by rough spheres. Shea’s shapes take their cues from microscopic silica crystals and the palette from Japanese painter Sanzo Wada‘s 1932 book, A Dictionary of Color Combinations.

Sakari Kannosto (Finnish, b. 1973) is a multimedia artist working in Helsinki, Espoo and Vantaa Finland, with a primary focus on ceramic sculptures and large-scale installations. His fantastical and figurative creatures are inspired by fables, Greek mythology, and Finnish folklore. As he sculpts part human, part mermaid, part animal beings, he references the Finnish myth that animals can shape shift, traveling between worlds as protectors. Imbued with whimsy and humor, Kannosto’s work is also underscored by a deep environmental consciousness.

In spring 2022, the gallery debuted its third location in TribeCa, called HB381. The new Manhattan space is exclusively devoted to contemporary work and solo exhibitions, with primary focus on sculpture and ceramics by female artists including Kristina Riska, one of Scandinavia’s foremost contemporary ceramicists, and the Helsinki-based artist Marianne Huotari, a finalist in the 2022 Loewe Foundation Craft Prize. Both new spaces grew organically: “The impetus was simply to give the artists more exposure,” says Burrows.

Kristina Riska’s sculptures are deceptively simple. From across the room the large, undulating vessel forms beckon the viewer with familiarity. As you approach you feel a resonance with your own body. If we think of ourselves as part of the earth, there is a real connection between our bodies and these person sized vessels. We are drawn forward as we recognize echoes of our own form. Now from an intimate distance, closer inspection yields the truth: they are complex studies of life on the micro and macro levels, containing the history of humanity and biological life itself in physical form. They are everything all at once.

In the world of design, Kyösti Kakkonen's collection can hardly be matched. The Finnish collector has a remarkable career behind him, during which he managed to amass over 10,000 pieces of the finest ceramic and glass design spanning over a century.

Opening on 10th November 2022, EMMA – Espoo Museum of Modern Art unveils its largest project to date: a new 1000m² exhibition space dedicated to Collection Kakkonen. Bridging the gap between art and design, Collection Kakkonen has been brought together over the course of 35 years by prominent businessman and collector Kyösti Kakkonen, subsequently gaining recognition as the most significant collection of unique and limited-edition Finnish glass and ceramics in the world.

Is there a common aesthetic when it comes to Nordic porcelain? That’s the question under the spotlight in the AfterGlow exhibition, which brings together 13 contemporary ceramicists working in the Nordic countries. The artists were invited to look at the history of the porcelain industry from an artistic perspective, and to create new interpretations of the design tradition.

Though Manhattan’s Tribeca neighborhood is easily accessible, full of artist lofts, and synonymous with Robert De Niro’s famous film festival, its gallery scene has long been overshadowed by those of SoHo and Chelsea. Yet over the past decade, thanks to its unique architecture and comparatively low real estate prices, Tribeca has become a leading area for emerging and established galleries to plant their roots.

HB381 is pleased to announce Children of the Flood, an exhibition of new work by Sakari Kannosto (Finnish, b. 1973). This is Kannosto’s first solo presentation in the United States and marks the debut of a suite of nearly thirty figurative sculptures in stoneware.

Untitled Art will have more than 140 exhibitors at its upcoming edition in Miami Beach later this year. The fair will run November 29 to December 3, with a VIP preview on November 28, on the sands of Miami Beach (near Ocean Drive and 12th Street).

Not to brag or anything but we figure that we’ve seen at least 80 – 100,000 artworks or images of artworks in our lifetime. And then we discovered contemporary ceramics.

The fair returns to the sands of Miami Beach for its most international show to date, focusing on collaboration across the local and global art community. HB381's solo booth will feature Danish artist Pernille Pontoppidan Pedersen (b. 1987).

HB381 presents Children of the Flood, an exhibition of new work by Sakari Kannosto (Finnish, b. 1973). This is Kannosto’s first solo presentation in the United States and marks the debut of a suite of nearly thirty figurative sculptures in stoneware.

Sakari Kannosto: Children of the Flood (September 9 – October 21, 2022) is a wildly inventive imagining of a world consumed and ruled by water, where humans adapt and evolve to live with the preexisting marine life.

HB381 is pleased to announce Children of the Flood, an exhibition of new work by Sakari Kannosto (Finnish, b. 1973). This is Kannosto’s first solo presentation in the United States and marks the debut of a suite of nearly thirty figurative sculptures in stoneware. The artist will be present for an opening reception on September 9th, from 5 to 8 pm.

Dating back to the Vikings, ryijy is a distinctly Finnish textile tradition that produces thick, high-pile tapestries and rugs. The heavily patterned works, which have shifted from functional to decorative, are made by hand-knotting wool and layering the yarn into lush, textured motifs.

HB381 is pleased to announce their summer exhibition, a group show of three Nordic artists emphasizing the parallels between intensive hand crafts, traditional textile techniques, and ceramics. The show will run until August 19th at the gallery’s New York location in Tribeca. 

HB381 in New York, the new gallery offshoot of Hostler Burrows, is currently hosting Selected Works by Veera Kulju, Marianne Huotari and Hanne G. The summer group show brings together three Nordic artist-makers who transpose craft techniques between the mediums of textiles and ceramics. 

In this exhibition, Norwegian, Swedish, Finnish and Danish ceramicists have embarked upon the Nordic porcelain tradition. The works in the exhibition have been created during the past three years by 13 artists in residences at Nordic porcelain factories and workshops.

HB381 is thrilled to announce that Marianne Huotari, currently featured in our Summer Group Show, was shortlisted for the Loewe Foundation Craft Prize. Her work, Ananasakäämä, is on view at the The Seoul Museum of Craft Art (SeMoCA) through July 30th as part of a special exhibition honoring this year's finalists. 

Pontoppidan Pedersen lives and works on a farm in the remote countryside of Denmark. Hers is an intensely personal and physical creative process, driven by intuition and the ability to embrace discomfort—to rest in the fear of not knowing what may result as she builds—transferring her body’s energy through her fingertips directly into the clay. 

HAVING ESTABLISHED ITSELF as New York’s leading purveyor of historical and contemporary Scandinavian design, Hostler Burrows has been a mainstay of the city’s ever-evolving gallery scene since 1998. Extolling the virtues of craftsmanship, experimentation and material integrity, the gallery – founded and run by Kim Hostler and Juliet Burrows – has fostered a strong roster of international designers. 

"Lately I've been thinking about how to sculpt in a feminist way," says the Danish artist Pernille Pontoppidan Pedersen, who has been mining the work of scholar Donna J. Haraway for inspiration. "I'm drawn to her way of playing around with new words, of looking at things and fabulating." 

The world's most lucrative award for craft will announce its winner in a ceremony in Seoul this June.

The finalists are: Andile Dyalvane (South Africa); Annika Jarring (Sweden); Awaré (France); Beate Leonards (Germany); Blast Studio (United Kingdom); Chikuunsai Tanabe (Japan); Dahye Jeong (Republic of Korea); David Clarke (United Kingdom); Domingos Tótora (Brazil); Eleanor Lakelin (United Kingdom); Fernando Casasempere (Chile); Fredrik Nielsen (Sweden); Junsu Kim (Republic of Korea); Julia Obermaier (Germany); Kate Malone (United Kingdom); Konrad Koppold (Germany); Lu Bin (China); Madoda Fani (South Africa); Marianne Huotari (Finland); Mayumi Onagi (Japan); Mel Douglas (Australia); Minwook Kim (Republic of Korea); Myungtaek Jung (Republic of Korea); Pao Hui Kao (Taiwan); Peter T. McCarthy (Cote d'Ivoire); Sangwook Huh (Republic of Korea); Soyun Jung (Republic of Korea); Trinidad Contreras (Spain); Vera Siemund (Germany); and Yongjin Chung (Republic of Korea).