Current & Archive

Adam Court approaches furniture through the relationship between mass and line. Developed with OKHA, his designs bring the weight and variation of natural stone into contact with the precision of metal. Asymmetry becomes a way of holding a composition in balance: a shift in proportion can alter how a table meets the floor or how a chair occupies a room. Form in Balance follows these decisions across tables and seating, considering how traditional making and carefully resolved materials give functional objects a sculptural presence.

Peter Varga works with plaster as a material that can both receive an impression and establish a volume. Drawing on his training in fresco and architectural design, he brings the worked surface away from the wall and into the space of sculpture. Across Mammatus, Penumbra and Hollókő, ridges, hollows and irregular edges make light an active part of the work. In Relief traces this passage from plane to volume, attending to the way a hand-worked material can change the experience of an architectural setting.

Oskar Zięta develops form through the behaviour of metal under pressure. In his FiDU process, two welded sheets expand with compressed air, acquiring volume through the material’s response to a precise construction. Folds and irregular edges retain a record of that transformation. Air and Reflection brings together mirrors and seating in which this approach becomes visible at different scales. Polished surfaces draw the surrounding room into the work, while changes in light and viewpoint continually alter its appearance. The object is encountered through both its physical outline and the space it reflects.

Presented at Kalkeriet Contemporary in Malmö and online, Figure and Surface brought together works by Linder Sterling, Carsten Höller, Sanford Biggers, Helmut Lang, Jacques Olivar and Clive Arrowsmith. The exhibition paired fine art photography with artist-designed rugs, tracing how pose, silhouette and texture shape the way we read an image.

In Jacques Olivar’s 1998 portrait of Esther Canadas, dark fabric and a pale backdrop give the figure a sharp outline. In Helmut Lang’s hand-knotted silk rug Untitled (Silver Edit), the surface shifts in tone as it catches the light. Seen together, the works draw attention to how light defines a contour in a photograph and reveals texture in a textile.

In conjunction with Frieze Seoul 2026, Kalkeriet Contemporary presented both of Marilyn Minter’s hand-knotted rugs made with Henzel Studio at its gallery in Malmö.

Cracked Glass (2013) and Twilight (2019) translate Minter’s photographs of fractured glass and droplets into woven relief. Changes in pile height trace the fractures, while raised silk details catch the light. The two works bring out the contrast between the brighter surface of Cracked Glass and the darker tones of Twilight.

Presented in conjunction with Art Basel in Basel 2026, this group exhibition brings Claude Guillaumin, Matthew Day Jackson and Calle Henzel together around the relationship between image and material. Guillaumin’s Waterproof Mascara Esti Millet (1975) introduces a reading of the figure through framing and gesture. Alongside textile works by Jackson and Henzel, the photograph opens a dialogue between the immediacy of an image, the tactile character of a surface and the scale of a work within a collection.

In conjunction with 3daysofdesign, Copenhagen’s international design event, Kalkeriet presents Oxidation Paintings — a hand-knotted edition developed from Andy Warhol’s iconic Oxidation Paintings (1978). Installed as part of a site-specific presentation at Kalkeriet Contemporary in Malmö / Greater Copenhagen, the work extends Warhol’s exploration of oxidation, materiality, and transformation into textile form.

Through hand-knotting, sculpted pile heights, silk detailing, and shifting textures, the piece acquires a tactile depth that echoes the reflective and unstable qualities of the original series. Variations in surface and sheen introduce a changing interplay of light and shadow, drawing attention to the relationship between the image and its material construction. The translation into textiles offers another way to encounter Warhol’s experimental abstractions, with colour and texture taking on a physical dimension.

Within Kalkeriet’s architectural setting, the work establishes a dialogue with the surrounding space. Its scale and surface invite close observation, revealing details that shift with the viewer’s position and the available light. Bringing together Warhol’s imagery and the considered processes of handcraft, the presentation explores how an artwork can acquire new expression through a change of medium.

Kalkeriet Contemporary brought together works by Alexander Díaz Andersson, Adam Court, Artefatto, Geoff MacCormack and Simone Steenberg in a group exhibition presented in the gallery in conjunction with Frieze New York. Furniture and collectible design were shown alongside photography and an artist-designed rug, allowing the works to be considered individually and in relation to the surrounding space.

The work of Díaz Andersson and Artefatto brought different approaches to shape, proportion and construction into the presentation. Adam Court’s rug added a textile dimension, drawing attention to the way surface and texture can give a work a sculptural presence. Photography by MacCormack and Steenberg introduced the human figure into this setting. In Steenberg’s Naja, a closely framed face and an upward gaze draw attention to expression, posture and light. The portrait offered an intimate point of focus alongside the physical presence of the furniture, objects and rug.

Together, the works invited visitors to move between looking at an image and experiencing an object in space. The exhibition reflected Kalkeriet’s interest in presenting photography, artist-designed rugs and collectible design together, with close attention to how surface, proportion and placement shape the experience of each work.

In conjunction with Art Basel Hong Kong, Kalkeriet Contemporary presented a group exhibition featuring works by Katerina Jebb, Simone Steenberg, Calle Henzel, Lella and Massimo Vignelli, Richard Prince, and Carsten Höller. Bringing together photography, contemporary art and design, the presentation considered how images, materials and objects shape the experience of a space. Jebb’s use of digital scanning expands the possibilities of photographic image-making, drawing attention to details and surfaces that might otherwise pass unnoticed. Steenberg’s photographs explore femininity and transformation through the relationship between the body, its surroundings and the photographic frame.

Henzel’s work brings an artistic approach to the textile surface, giving composition a tactile presence through texture, depth and sculptural form. Richard Prince’s engagement with found imagery introduces questions of authorship, repetition and cultural context, opening another perspective on how images acquire meaning.

Alongside these practices, the work of Lella and Massimo Vignelli reflects a sustained attention to clarity, proportion and material. Their approach to design gives functional objects a distinct architectural presence, establishing connections between the scale of an object and the space around it. Seen together, these individual positions offered different ways of approaching image, surface and form.

Kalkeriet Contemporary presented a selection of photographs by Simone Steenberg, a Danish photographer working between Paris and Copenhagen. The exhibition explored femininity and transformation through images connecting the human body with landscape, light and the passage of time. Working with analogue photography, Steenberg creates images with an intimate, cinematic character. Small shifts in posture, gesture and expression suggest a narrative, while the surrounding environment becomes an active part of the composition. Her photographs move between the recognisable and the dreamlike, leaving space for ambiguity and personal interpretation.

Steenberg’s approach to beauty is shaped by individuality and emotional presence. Softness, tension and self-possession coexist within her images, allowing femininity to emerge as something fluid and open to interpretation. A portrait becomes an encounter with a person whose identity extends beyond the moment captured by the camera, with gestures and expressions suggesting a life outside the frame.

Presented at the gallery in Malmö, the works invited close attention to the human figure and to photography’s ability to suggest an emotion or a story without fully revealing it.

The online exhibition presents select works from the Malmö Gallery Weekend exhibition.

In conjunction with Frieze Los Angeles, Kalkeriet presented 1967, a new hand-knotted edition by Richard Prince developed with Henzel Studio. The presentation introduced a work that brings the artist’s engagement with American imagery, repetition and appropriation into the physical space of the interior.

Based on a work on paper created in 2013 exclusively for Henzel Studio, the composition assembles fragmented images of American football players’ backs. The number 1967 repeats across the surface, connecting individual fragments within a shifting visual field. Cuts and marks from the original are retained through variations in pile height and carved relief, giving the image a tactile structure and an irregular outline.

The combination of linen, Lyocell, wool and silk introduces changes in texture and sheen as light moves across the surface. Produced in an edition of 20 + 1 AP, 1967 is Prince’s second work developed with Henzel Studio. The 2026 presentation invited close attention to the relationship between the original image, its material translation and the processes of handcraft through which it acquires a new form. Its irregular perimeter remains integral to this translation into textile.

The exhibition included a site-specific installation featuring works by Verter Turroni, Jack Pierson, Olaf Breuning, and Calle Henzel, presented in dialogue with Henzel Studio Collaborations: 1st Decade at PDC Design Gallery (formerly MOCA’s West Hollywood space), in conjunction with Frieze Los Angeles.

Celebrating ten years of Henzel Studio’s artist-designed rugs, the exhibition brought together over 25 works, including new collaborations with John Waters, Mickalene Thomas, and Anselm Reyle — pushing the boundaries of textile-based artistic practice. Turroni’s sculptural works offered a powerful counterbalance to the rug installations, bridging material expression across disciplines and highlighting the dynamic tension between object and surface.

Presented at PDC Design Gallery — a venue with a storied history of showcasing radical intersections between art and design — the exhibition followed in the footsteps of past presentations by Rick Owens, Takashi Murakami, and others. Also featured were works by Vanessa Beecroft, Olaf Breuning, Nan Goldin, Marilyn Minter, Tony Oursler, Richard Prince, Mickalene Thomas, Andy Warhol, Carsten Höller, Katerina Jebb and more. Created by Joakim Andreasson, with exhibition design in collaboration with Kalkeriet Contemporary.

Kalkeriet Contemporary presented Untitled (Silver Edit), a hand-knotted rug by Helmut Lang that extends his exploration of material, surface and the human body. Developed from a composition conceived in 2013, the silver edition brings the artist’s sculptural language into the textile surface, giving an abstract image a different scale and physical presence.

Changes in pile height and the reflective qualities of mulberry silk allow the work to shift with the available light. Dense passages and more open areas establish a rhythm across the surface, while variations in sheen make its construction visible. The rug can be read both as an image and as an object, encountered through its texture, outline and relationship with the room.

Lang has worked exclusively as an artist since leaving fashion in 2005. His practice encompasses sculpture, reliefs, assemblage paintings and collage, often examining the tensions between abstraction and figuration. At Kalkeriet, the presentation connected these concerns with the processes of textile making, inviting close attention to the ways material can preserve the trace of a gesture and give a composition its particular character.

Kalkeriet Contemporary presented works by Mickalene Thomas, Jwan Yosef and Calle Henzel in Malmö in 2025. Bringing together distinct artistic practices, the exhibition considered how an image acquires physical presence through material, scale and surface. The presentation connected contemporary art with artist-designed rugs, allowing the works to be approached individually and in relation to one another.

Thomas’s engagement with the photographic image and layered composition introduced questions of looking, representation and identity. Yosef’s attention to the structure of an artwork brought painting into a conversation with sculpture and textile. Henzel’s investigation of texture, erosion and irregular form added another perspective on the relationship between an artistic composition and its material expression.

Across the presentation, changes in surface invited a closer encounter with each work. A composition could be read from a distance and then experienced through its physical details, with light revealing differences in texture and depth. Seen together, these approaches reflected Kalkeriet’s interest in the connections between art and the interior, considering how a work can retain its individual language while contributing to the character of a shared space.

Kalkeriet Contemporary presented Bowie, Beyond the Stage, an exhibition of photographs by Geoff MacCormack, shown in the gallery and online. Bringing together signed and numbered editions, the presentation offered an intimate view of David Bowie through the eyes of a lifelong friend, collaborator and travelling companion.

Made during MacCormack’s years touring with Bowie between 1973 and 1976, the images move between travel, recording studios and moments away from the stage. Their proximity to the subject gives the photographs a distinctive character, placing a familiar public figure within the everyday rhythms of working, waiting and moving from one place to another.

A gesture, a pause or a glance becomes a point of connection. MacCormack’s photographs invite attention to the relationship between photographer and subject, and to the way friendship and trust can shape a portrait. Across the gallery and online presentation, the works offered a quieter register within Bowie’s constantly changing visual identity. Seen as individual works, the photographs also reveal MacCormack’s attention to composition, atmosphere and incidental detail, allowing moments from a shared history to carry their own visual meaning.

Kalkeriet Contemporary brought together works by Jacques Olivar, Calle Henzel, Verter Turroni and Matthew Day Jackson in a group exhibition spanning fine art photography, artist-designed rugs and collectible design. The presentation brought four distinct practices into a shared setting, opening a conversation around image, material, scale and form.

Olivar’s cinematic approach to photography draws attention to the relationship between a figure and its surroundings. Gesture, light and atmosphere suggest narratives that extend beyond the frame. Henzel’s exploration of texture and surface introduces a different kind of depth, translating an artistic composition into the tactile language of a rug.

Turroni’s organic forms connect furniture with sculpture, giving functional objects an almost geological presence. Jackson’s approach to furniture introduces another interplay of line and volume, balancing recognisable structures with unexpected curves. Across these practices, familiar materials and forms become a means of reconsidering how an object occupies space. Seen together, the works invited connections between the photographic image, the textile surface and the sculptural object. The exhibition reflected Kalkeriet’s interest in presenting art and design in dialogue, allowing each artist’s individual language to contribute to the character of the whole.

Presented in conjunction with Art Basel Miami Beach, this exclusive online preview and exhibition brought together photographs by Jacques Olivar, shaped by his cinematic approach to portraiture and fashion. The presentation explored how a photograph can suggest a story through the relationship between a figure, a setting and a moment held in suspension.

Olivar’s photographs give particular weight to gesture and atmosphere. A weathered surface, windblown hair or the position of a hand becomes part of the image’s narrative structure. The figures meet the camera with a directness that holds the viewer’s attention, while small details suggest something unfolding beyond the frame.

In the black-and-white works, light and tonal contrast bring the textures of clothing, skin and background into close relation. Dark silhouettes and softer passages of grey establish a balance between graphic form and physical presence. The images retain the precision of a carefully composed scene while leaving their emotional meaning open to interpretation. Presented online, the exhibition invited visitors to spend time with these details and consider each photograph within Olivar’s wider visual language. A look, a surface or a shift in posture becomes the starting point for the viewer’s own reading.

Presented in conjunction with Art Basel Paris, this exhibition at Kalkeriet Contemporary explored Calle Henzel’s approach to the rug as a sculptural surface. Bringing textile, contemporary art and architecture into dialogue, the presentation considered how a work can shape an interior through its outline, depth and response to light.

Henzel’s compositions develop through an investigation of texture, erosion and irregular geometry. Changes in pile height and density give the surface a physical rhythm, while subtle variations in tone suggest the passage of time. In Yeager (Nobu Charcoal Edit), a restrained palette draws attention to the relationships between light and dark, softness and relief. Its expressive silhouette extends the composition into the surrounding space, making the edge of the rug an active part of the work.

The exhibition invited close attention to these material details and to the role of craftsmanship in giving an artistic composition its particular character. Viewed alongside furniture and architectural elements, the textile introduces another scale of experience: a surface encountered through changing viewpoints, reflections and movement. Henzel’s work brings the intimacy of a tactile object into conversation with the broader proportions and atmosphere of a room.

Presented as a gallery and online exhibition in conjunction with Art Basel Miami Beach, Selected Works focuses on Calle Henzel’s collaboration with The Andy Warhol Foundation for the Visual Arts. Developed through Henzel Studio Heritage, the project brings Warhol’s Marilyn imagery into a new material language through Henzel’s approach to composition, surface and hand-knotted construction.

The collection draws on a maquette Warhol created for an unrealised artist’s book. Henzel extends this archival starting point through his own interventions: fragmented portraits, free-form outlines, carefully positioned openings and irregular fringes. Variations in pile height and surface treatment give the image a physical depth, connecting the recognisable portrait with the processes through which a textile is made.

Marilyn, Tarfala Permafrost Night Edit, designed by Henzel in 2015 from Warhol’s 1967 imagery, anchors the presentation. Hand-knotted in wool and silk, the work makes Henzel’s interpretation central to the encounter. The collaboration with the Foundation provides a framework for this continuing dialogue between Warhol’s archive and Henzel’s artistic practice, with each work retaining a clear relationship to its source.

Movement gives a portrait a particular sense of time. This Malmö presentation centres on Clive Arrowsmith’s photographs of David Bowie, considering how a turn of the body can unsettle the conventions of a posed image. The figure appears in the process of becoming an image rather than holding a fixed identity for the camera.

In Bowie Twisting (Back) (Colour), London, 1977, gesture and the direction of the body become central to the composition. The photograph provides a starting point for looking at the relationship between performance and photographic construction. Clothing, posture and framing each contribute to the way an individual is recognised, while leaving something unresolved.

The selection places attention on Arrowsmith’s decisions about movement, distance and the edges of the image. Presented as photographs with their full compositions visible, the works invite a close reading of physical expression and the lasting presence of a moment. The curatorial focus remains on the individual image and the choices through which it takes shape.

Katerina Jebb’s work asks how an image is assembled and how much of its construction remains visible. This presentation in Malmö takes her use of digital scanning as a starting point, following the movement from a recorded surface to a composite image and, in turn, to a textile object.

Fallen White Pigment, 2018 / 2022, gives this enquiry a material dimension. Realised through hand-knotting in wool, linen, Lyocell and silk, the work introduces differences of depth, texture and reflection. An image that can be read from a distance also calls for attention to the physical processes through which its surface is formed.

The exhibition concentrates on the interval between recognition and uncertainty. Details are gathered, translated and encountered again at a different scale. Within the gallery, the relationship between image and textile allows the work to be considered both as a composition and as a physical presence, with the surrounding light becoming part of the experience.

Anselm Reyle’s practice returns to the inherited languages of abstraction through unexpected materials and changes of context. This presentation in Malmö considers the relationship between a visual effect and the surface that carries it, using his textile edition Untitled, 2019, as its point of departure.

The work is realised as a chromogenic print on velour. An image associated with Reyle’s wider exploration of colour, reflection and material becomes part of a soft, tangible surface. Its physical scale invites the viewer to move between reading the composition as a whole and observing the textile through which it is presented.

The exhibition concentrates on this passage between image and object. A surface can suggest depth or movement while remaining materially still; a familiar abstract language can acquire another character through the conditions of its display. Seen in the gallery, the work opens a focused conversation about perception, translation and the ways an artistic composition can occupy an interior.

This group presentation in Malmö brings Katerina Jebb, Richard Prince and Verter Turroni into a conversation about how a work is read as an image and experienced as an object. The selection connects photographic construction, artist-designed textiles and sculptural furniture without asking the individual practices to share a single visual language.

Jebb’s Nude Torso, 2012, offers an entry into these questions. Realised as a chromogenic print on velour, the work places an image of the body on a textile surface. Prince’s engagement with found imagery introduces another approach to recognition and translation, while Turroni’s objects give these concerns a spatial and functional dimension.

The installation pays particular attention to distance and proportion. Works that first appear related through their imagery may separate through material; objects with distinct functions may establish unexpected formal connections. The exhibition’s focus is the experience of moving between these positions, allowing each work to retain its own terms while contributing to the character of the room.

Kalkeriet Contemporary presented Alfredo Lopez with Oskar Zięta and Helmut Lang in a gallery and online exhibition in conjunction with Art Basel Hong Kong 2025. Lopez’s La Pepino Chaise sets a sequence of upholstered cylinders on a low, curved base. The repeated forms give the chaise its rhythm, while their different heights shape how it supports the body.

Alongside the chaise, Zięta’s sculptural metalwork catches light across its contours, while Lang’s textiles draw attention to the way texture and relief give a surface depth. The exhibition moves between the scale of the body and details that come into view up close.

Kalkeriet Contemporary presented Artefatto in its Malmö gallery in conjunction with Art Basel Hong Kong 2025. The presentation centred on Tateyama Cloud, a sculptural sofa designed by Sacha Andraos, Lorenzo Scisciani and Salvatore Morales for Secolo. Its low silhouette and generous volumes draw attention to how upholstered forms define the space around them.

Mickalene Thomas’s work considers beauty, identity and representation through layered compositions drawing on art history, popular culture and the interior. This Malmö presentation focuses on Untitled #14, 2015 / 2025, a hand-knotted work developed with Henzel Studio, allowing its translation into textile to be examined at close range.

Wool, linen, nettle and silk introduce different textures and responses to light. Variations in pile height give the composition a physical depth, bringing attention to the processes through which an image is reconstructed as a handmade surface. The work’s material presence becomes part of the encounter rather than a neutral support for the image.

The exhibition gives the work a focused architectural setting, allowing the viewer to move between its overall composition and the detail of its construction. Thomas’s engagement with the visual languages of the interior meets the scale of an actual room, opening a conversation about how representation, material and placement influence the experience of an artwork.

This group presentation in Malmö brings together Katerina Jebb, Mary McCartney and Verter Turroni around the relationship between an image of the body and an object made to accommodate it. The selection connects different forms of observation with the physical proportions of furniture and textile.

Jebb’s Tilda Swinton, 2012, translated into a chromogenic print on velour, provides one point of focus. McCartney’s photographic perspective introduces another approach to gesture and individuality. Alongside these images, Turroni’s sculptural furniture creates a direct relationship with the viewer’s own body, drawing attention to the movement between looking at a work and occupying the same space.

The installation is organised through intervals rather than dense groupings. Each work retains enough space for its surface, dimensions and individual character to be considered. Seen together, the practices offer a means of exploring how representations of the body, tactile materials and the forms of everyday objects can shape the atmosphere of an interior.

What remains of a photograph when its material, scale or setting changes? This Malmö presentation brings together Mary McCartney, Clive Arrowsmith and Calle Henzel around that question, connecting photographic observation with the tactile and spatial possibilities of artist-designed textiles.

McCartney’s Let Me Out, USA, 1995, realised as a chromogenic print on velour, provides an entry into the selection. An image recorded through the camera becomes a surface with a different physical presence. Arrowsmith’s photographs introduce another way of framing an individual moment, while Henzel’s textile practice extends the conversation towards abstraction, texture and the outline of an object.

The installation allows connections to emerge through the experience of the room. Images and surfaces could be approached individually, then considered in relation to the works around them. The focus remains on the decisions through which an artistic image becomes part of an interior, retaining the particular character of its source while acquiring another scale and form.

This presentation at Kalkeriet Contemporary in Malmö / Greater Copenhagen brings Verter Turroni’s sculptural furniture into conversation with textiles by Calle Henzel. The selection considers how a restrained arrangement of objects can give a room its structure through proportion, outline and the character of individual surfaces.

Turroni’s Nido Chrome introduces a relationship between an enveloping seat and its supporting base. Fibreglass and metal give the object distinct material registers, while the curved form establishes a clear place for the body. Henzel’s textiles introduce another scale of surface and texture, allowing the floor to take an active role in the composition of the installation.

The exhibition is built around open space and changes of viewpoint. Each work can be read on its own terms, while small shifts in position reveal connections between the objects. Within the wider design calendar of Copenhagen, the presentation offers a curatorial framework for looking at the interior as a considered relationship between art, material and everyday use.

The translation of an artistic gesture into textile requires decisions about scale, material and the construction of a surface. This presentation in Malmö / Greater Copenhagen brings together Anselm Reyle, Mary McCartney and Calle Henzel around the different ways an image can acquire a tactile presence.

Reyle’s Untitled, 2013 / 2025, provides a focus through its hand-knotted wool and silk surface. His approach to abstraction sits alongside McCartney’s photographic attention to a subject and Henzel’s exploration of texture and irregular form. These distinct starting points allow the rug and textile edition to be considered through more than one artistic language.

The exhibition gives close attention to the individual works and the physical conditions of their display. Changes in pile, sheen and outline become visible through movement and available light. Rather than treating textile as a single category of expression, the selection invites a comparison of the particular choices through which each artist’s composition is given material form.

Claude Guillaumin’s Aria Deauville (1976) anchors a focused online presentation in conjunction with Art Basel in Basel 2025. The exhibition considers his use of light, gesture and framing, and the relationship between figure and setting.

Presented as an archival pigment print on Hahnemühle fine art paper, Aria Deauville brings a reclining figure and an alert black-and-white dog into a carefully composed frame. Their contrasting lines of attention animate the image’s balance of light and shadow.

Jacques Olivar builds a scene through the relationship between a figure, a setting and light. His photographs draw on the visual language of cinema, allowing a familiar location to acquire the atmosphere of an unwritten story.

This selection considers how Olivar gives a single frame the sense of time unfolding beyond its edges. A pause, an off-camera glance or the distance between a figure and the surrounding landscape leaves the narrative open to the viewer.

In conjunction with Frieze New York, Kalkeriet Contemporary presented a solo exhibition of work by Calle Henzel in 2024. The presentation explored his approach to the rug as an artistic medium, bringing abstraction, material experimentation and the scale of the interior into a shared field. Surface and outline became central to the encounter, giving each composition a physical presence within the room.

Henzel’s textile language develops through contrasts in texture, tone and pile height. Irregular edges interrupt the familiar geometry of a rug, while areas of relief give the surface a sculptural character. Marks associated with erosion and the passage of time become part of the composition, connecting the immediacy of an image with the slower processes through which a textile is made.

The exhibition invited visitors to consider these works through changing viewpoints and the movement of light across their surfaces. A restrained palette brought attention to distinctions between dense and open areas, softness and definition. Within Kalkeriet’s architectural setting, Henzel’s work established a dialogue between an individual object and its surroundings, considering how a rug can organise space while remaining an independent artistic expression.

A curated selection was first presented in Malmö on 28 September 2024. Now available as a permanent online exhibition, Framing Bowie 1967–1991 brings together fine art photography showcasing an exceptional collection of signed and numbered photographs of David Bowie. This carefully curated selection spans over two decades of Bowie’s career, offering a rare and intimate look into the life and transformation of one of the most influential and enduring cultural icons.

The exhibition features works by renowned photographers Clive Arrowsmith, Brian Aris, and Geoff MacCormack, each capturing unique moments in Bowie’s life and career. Their individual perspectives come together to create a multifaceted portrait of an artist whose image was as compelling and constantly evolving as his music.

Viewed together, these photographs invite visitors to look more closely at the relationship between identity, performance, and photographic expression. Each work holds a moment within a much larger creative journey, while retaining the distinctive vision of the photographer behind the lens. For collectors and admirers alike, the exhibition offers an opportunity to experience Bowie’s enduring presence through photography. The selection moves between public appearances and private encounters, giving familiar images a different context.

Presented in conjunction with Art Basel Paris, this exhibition at Kalkeriet Contemporary explored the meeting of photography and textile in Mary McCartney’s work. The presentation considered how an image changes when it acquires the scale, surface and physical presence of a tapestry or carpet, extending the encounter with a photograph into the surrounding architecture.

In Believe, Nashville (2004), a single word across a building’s façade becomes the focus of a quiet, graphic composition. Windows, brickwork and lettering establish a measured relationship between language and place. McCartney’s attention to an everyday scene leaves room for personal associations, allowing a found detail to suggest ideas of conviction, possibility and the meanings we attach to our surroundings. The image retains the immediacy of a photographic observation while inviting a slower, more reflective reading.

Realised as a chromogenic print on velour, the edition introduces a tactile dimension to this visual language. The textile surface gives the photograph a softness and material presence that becomes especially apparent at an architectural scale. The exhibition brought these qualities into focus, placing McCartney’s photographic perspective within a conversation about art, design and the ways an image can inhabit an interior.

Presented in conjunction with Frieze Los Angeles, Kalkeriet’s 2024 Mary McCartney exhibition explored the relationship between photographic observation and textile form. McCartney’s attention to intimacy, identity and the natural world provided a starting point for considering how an image can be encountered at a different scale and through a different material.

In English Rose, London, 2019 / 2021, a floral image takes on a sculptural presence through an irregular outline, hand-knotting and variations in pile height. Petals, leaves and areas of light become part of a tactile surface, with wool, Lyocell, linen and silk giving the composition changes in depth and sheen. The work retains the sensitivity of the photographic image while inviting a more physical experience of its form.

The presentation connected McCartney’s photographic practice with the considered processes of textile making. Familiar details became opportunities to look again, drawing attention to colour, texture and the expressive potential of an everyday subject. Within this dialogue between image and object, the exhibition reflected Kalkeriet’s interest in works that can be experienced both through close observation and through their relationship with the surrounding space.

A photograph can hold a gesture without resolving the movement that surrounds it. This Malmö presentation considers Mary McCartney’s attention to the body, vulnerability and the small observations through which an image acquires emotional presence. Dance, Paris, 2004, provides a focus for the selection.

Realised as a chromogenic print on velour, the work brings the photographic image into contact with a textile surface. Its scale and texture introduce another way of encountering the composition. The relationship between a fleeting observation and an object occupying the room becomes part of the work’s character, inviting attention to both image and material.

The exhibition brings these qualities into a quiet architectural setting. Rather than extending a narrative beyond the information held in the photograph, the selection concentrates on gesture, framing and the viewer’s own associations. McCartney’s photographic approach offers a means of considering how an apparently immediate image can sustain a slower encounter when its surface and scale are given space.

Verter Turroni’s objects can be approached through more than one function. This Malmö presentation centres on Arenaria, a limited-edition work that can be considered as a seat, a bench, a low table or a sculptural element. Its presence begins with form, before a particular use is assigned to it.

Made in fibreglass, Arenaria recalls the apparent weight and irregular character of a rock. The relationship between its material construction and its visual associations introduces a productive uncertainty. An object connected to the natural world becomes part of a domestic setting, with changes in scale, surface and position altering how it is encountered.

The exhibition gives individual forms enough space to be read from different viewpoints. Attention falls on outlines, intervals and the way an object establishes a relationship with the floor. Across these observations, Turroni’s practice provides a basis for considering furniture as an encounter between artistic expression, physical use and the architecture of everyday life.

Richard Prince’s engagement with familiar imagery invites questions about repetition, recognition and the contexts through which meaning is formed. This Malmö presentation centres on 1234-5678-910, 2013, a hand-knotted rug developed with Henzel Studio, considering the movement of a composition into another material and scale.

Realised in wool and silk, the work gives an image a physical surface that can be encountered through texture as well as sight. The numerical sequence in its title provides an organising reference, while the textile edition opens a different relationship between an artistic composition and the space around it. The processes of hand-knotting become part of the work’s material character.

The exhibition retains a close focus on this single work and its surrounding architecture. Changes in viewing distance allow attention to move between the composition and the construction of its surface. Within this setting, Prince’s practice offers a way of considering how an image continues to change as it is reproduced, translated and encountered again.

This Malmö presentation places works by Olaf Breuning and Calle Henzel in a dialogue between pattern, abstraction and the physical presence of textile. Two distinct artistic positions come together through their use of the rug as a surface that can be read at the scale of an image and the scale of a room.

Breuning’s Black and white people pattern, 2017, provides a focal point. Hand-knotted in silk, the work connects a graphic composition with variations of pile and surface. Henzel’s attention to texture and irregular form offers a contrasting approach, drawing the viewer towards the outline and material construction of an individual work.

The selection allows these differences to remain visible. Repetition and interruption, clarity and erosion, become ways of thinking about how a textile composition is organised. Presented with space around each work, the exhibition invites a close encounter with the transitions between a recognisable visual language and the tactile decisions through which it takes shape.

A portrait can describe an individual while also recording the creation of a public image. This Malmö presentation considers that relationship through Clive Arrowsmith’s photographs of David Bowie, with David Bowie and Feathers, London, 1967, serving as a point of departure for looking at performance within the photographic frame.

The image belongs to an early moment in Bowie’s visual history. Its full composition remains visible, allowing the relationship between the figure, the surrounding space and the edges of the photograph to remain visible. The edition’s connection to an original bromide print introduces another layer of time to the encounter.

The exhibition concentrates on the choices through which a portrait acquires its character: the framing of a gesture, the quality of light and the relationship between photographer and subject. Arrowsmith’s work offers an opportunity to look closely at a familiar cultural figure while remaining attentive to the specificity of a single photographic moment.

Anselm Reyle’s work revisits the forms of abstract modernism through an experimental approach to surface and material. This presentation in Malmö takes Untitled, 2022, as a starting point for considering how an abstract composition changes when it is translated into a textile edition and encountered within an architectural setting.

Realised as a chromogenic print on velour, the work connects a visual composition with the softness and scale of a tapestry or carpet. The image and its support remain distinct, yet neither can be experienced in isolation. Changes in distance bring different aspects of the work into focus, from the overall arrangement to the texture of the surface.

The exhibition draws attention to this exchange between looking and material perception. Reyle’s wider engagement with colour, reflection and inherited artistic languages provides context, while the individual textile work remains the centre of the presentation. Its presence in the gallery invites a measured reading of abstraction as both an image and a physical encounter.

This online exhibition focuses on Canoa, a sculptural bench by Verter Turroni, in conjunction with Art Basel Miami Beach. The work takes its name and elongated silhouette from the canoe, bringing the suggestion of a vessel into the language of furniture. Its curved form establishes a clear relationship between the outline of an object and the space that surrounds it.

Made in fibreglass, Canoa connects a continuous, shaped surface with the practical proportions of a seat. The material allows the bench to retain an expressive profile while accommodating different dimensions and finishes. Photographs of the work invite attention to its curved edges, the depth of the seating area and the way the silhouette changes with the viewpoint.

The online presentation considers Canoa within Turroni’s practice at Imperfetto Lab, where objects are developed through moulding and finished by hand. The focus remains on the individual work: its construction, material and the relationship between sculptural presence and everyday use.

An object can establish a place within a room before it is used. This presentation in Malmö / Greater Copenhagen considers that relationship through works by Verter Turroni and Lella and Massimo Vignelli, bringing different approaches to furniture into a shared architectural setting.

Turroni’s Archè provides a point of focus. The lounge chair combines a deep, rounded seat with a clearly articulated supporting structure, giving the work a presence that can be approached through geometry as well as comfort. The Vignellis’ attention to proportion and clarity offers another means of considering how the parts of an object relate to one another and to the surrounding space.

The exhibition is organised through a small number of works, with intervals allowing their forms to remain distinct. Sightlines, scale and the relationship to the floor guide the encounter. Within this framework, design becomes a way of shaping both physical use and visual experience, connecting an individual piece with the wider composition of an interior.

In conjunction with Art Basel in Basel, Kalkeriet Contemporary presented Nan Goldin’s Wine and Roses (2014) at its Malmö gallery in 2024.

Developed with Henzel Studio, the hand-knotted wool and silk edition is based on Goldin’s photograph of a dried rose wreath. Variations in pile height trace the petals, bringing the contours of the photograph into relief.

Photographs preserve a moment while remaining open to new readings. This Malmö presentation brings together Clive Arrowsmith, Mary McCartney and Katerina Jebb around the relationship between an image, its material form and the associations accumulated through time.

Arrowsmith’s Andy Warhol and Annie, New York, 1973, provides a focal point for the selection. A photographic encounter becomes a record that can be revisited from another historical position. McCartney’s attention to individuality and Jebb’s use of scanning introduce different approaches to how a subject is observed, constructed and encountered again through an image.

The exhibition preserves the full compositions of the photographs and give individual works room to be considered closely. Connections emerge through gesture, framing and the relationship between a person and their surroundings. Across the selection, the curatorial focus is the continuing life of an image: the ways a specific moment can retain its character while acquiring different meanings through material, display and the viewer’s own experience.

Mary McCartney’s photographs attend to the gestures through which a person reveals something of themselves. Her approach allows movement, vulnerability and the character of a place to shape the image, with a closeness that keeps the subject’s individuality in view.

Presented as photographs on textile, these observations acquire a different physical presence. Scale and the soft surface of velour invite a slower encounter with the image, bringing the immediacy of a photographic moment into the space of the gallery.

Kalkeriet Contemporary’s 2023 Malmö programme brought together works by Olaf Breuning and Calle Henzel. The presentation considered the artist-designed rug as a meeting point between an image and a physical object. Two distinct visual languages were placed in dialogue, connecting an experimental approach to contemporary art with the texture, scale and material presence of textile.

Breuning’s use of familiar imagery and unexpected combinations opens space for humour and ambiguity. Recognisable elements take on a different character when removed from their usual context, inviting the viewer to reconsider how an image is constructed. Henzel’s approach to abstraction, erosion and irregular form introduces another kind of visual tension, with the textile surface becoming an active part of the composition.

The exhibition explored the relationships that emerge when these approaches are experienced together. Differences in colour, outline and texture encouraged visitors to move between reading an image and observing the details of its material construction. Through this encounter, the presentation reflected Kalkeriet’s interest in works that connect artistic expression with the interior, allowing a rug to be considered both at the scale of a room and through the intimacy of its surface.

Kalkeriet Contemporary presented “Hirst, Warhol and Bowie by Arrowsmith,” an exhibition celebrating the fine art photography of Clive Arrowsmith. Featuring Damien Hirst,  David Bowie, Andy Warhol, and Warhol Superstars Joe Dallesandro, Jane Forth, and Geraldine Smith, the exhibition brings together portraits that explore the relationship between creativity, identity, and celebrity.

At the centre of the exhibition is a striking portrait of David Bowie emerging from shadow. The image captures the expressive presence of an artist whose capacity for transformation continues to fascinate. Accompanied by further photographs of Bowie, it invites visitors to consider how photography helped shape—and continues to preserve—his extraordinary visual legacy.

Another highlight is a previously unseen portrait of Andy Warhol, presented alongside photographs of the personalities associated with his Factory. Arrowsmith’s portraits of Joe Dallesandro, Jane Forth, and Geraldine Smith offer an intimate glimpse into this influential creative circle, reflecting the individuality and unconventional spirit of its members. Throughout the exhibition, Arrowsmith’s distinctive photographic perspective draws attention to the individuals behind the familiar faces. Each portrait holds its own atmosphere and presence, bringing viewers closer to figures whose influence extends across music, art, and fashion.

Kalkeriet Contemporary presented an exclusive online preview and exhibition of photographs by Brian Aris, focusing on the relationship between music, personality and the public image. The selection brought together colour and black-and-white portraits that consider how a performer’s presence is shaped through the photographic encounter.

Aris’s approach allows the setting to become part of the portrait. Vivid tailoring against a painted doorway introduces a deliberate clash of colour, while the surrounding cables, switches and worn surfaces retain the character of a working environment. The tension between composed appearance and incidental detail gives the image a particular immediacy.

A close black-and-white portrait offers a different register. Hands frame the face, directing attention towards the eyes and turning a small gesture into the organising structure of the composition. Light, texture and tightly controlled framing bring the viewer into proximity with the subject, concentrating the image around expression. Across these different approaches, the photographs reveal the choices through which an individual becomes a recognisable image. Clothing, posture and gaze carry meaning alongside the photographer’s decisions about distance, light and the boundaries of the frame.

Presented in conjunction with 3daysofdesign, Copenhagen’s annual design festival, this exhibition at Kalkeriet Contemporary explored the irreverent design language of Guido Drocco and Franco Mello through Cactus. Originally conceived for Gufram in 1972, the sculptural coat stand gives a familiar domestic function an unexpected form, bringing humour and a distinctly physical presence into the interior.

The black Nerocactus edition, introduced in 2010, concentrates attention on the object’s silhouette and densely articulated surface. Made from flexible polyurethane and finished by hand, its apparently prickly exterior has a surprising softness. Light catches the repeated rounded projections, giving the monochrome form a shifting rhythm of highlights and shadows. The relationship between its recognisable botanical outline and its material character encourages a closer encounter with an object that is both functional and sculptural.

The exhibition considered this playful ambiguity within the wider spirit of Italian radical design. A coat stand becomes a character in the room: expressive, familiar and open to interpretation. Presented as a collectible design object, Nerocactus demonstrates how an everyday typology can challenge expectations through scale, surface and gesture, while retaining the wit and experimental energy of Drocco and Mello’s original conception.

In conjunction with Frieze Los Angeles, Kalkeriet presented work by Anselm Reyle in 2023, bringing his investigations of abstraction, found material and reflective surfaces into a textile setting. The exhibition considered how the visual language of an artwork changes when its material effects are translated into a handmade surface.

For Henzel Studio, Reyle translated a composition from his foil series into Untitled, 2012. Creases, folds and flashes of reflected light become a pattern of contrasting areas, with silk introducing sheen to passages that would otherwise reflect their surroundings. Wool and silk give the composition a tactile depth, allowing the surface to shift in character as the viewer moves around it and the available light changes.

The work draws on Reyle’s engagement with the inherited forms of Modernism, reconsidering familiar approaches to abstraction through unexpected materials and changes of scale. Its transition from foil to textile connects the immediacy of an image with the measured processes of hand-knotting. The presentation invited visitors to consider the rug as a site of material experimentation, where surface, gesture and the perception of light become part of the same composition.

Kalkeriet Contemporary inaugurated its Davidshall gallery in Malmö with Out of the Shadows, a group exhibition bringing together original artworks, fine art photography and collectible design. Established and emerging artists shared the space, creating a dialogue between images, sculptural objects and material experimentation.

Photography was central to the presentation. Clive Arrowsmith’s portrait David Bowie — Out of the Shadows offered a striking study of presence and performance. Works by Katerina Jebb, Mary McCartney, Robert Knoke and Daniel Trese brought different approaches to portraiture, visual culture and the human figure, exploring how an image can reveal or transform its subject.

Alongside these works, Olaf Breuning’s playful visual language met the material experimentation of Calle Henzel. Sculptural pieces by Verter Turroni and Oskar Zięta introduced questions of structure, surface and balance. Alfredo Lopez’s La Pepino Chaise, with its repeated upholstered cylinders and curved base, demonstrated how furniture can move between functional design and sculpture. Works by Alexander Díaz Andersson, Franco Audrito, Guido Drocco & Franco Mello and Peter van de Water further expanded the exhibition’s conversation around craftsmanship, expressive form and the possibilities of contemporary design.

Clive Arrowsmith approaches portraiture as an encounter in which a sitter can perform, resist or reinvent a public image. Light, pose and framing give each photograph a theatrical charge while preserving the particular presence of the person before the camera.

The selection considers the portrait as a space of collaboration. A gesture or a change of expression can redirect an image that appears carefully composed, allowing the familiar face to become strange, playful or newly exposed.

Presented in Malmö in 2022, Drawings Reappropriated brought attention to Tom of Finland’s preparatory drawings and sketches. Developed in honour of Pride, the exhibition considered the studies through which his distinctive visual language took shape, connecting the intimacy of the drawing process with his contribution to artistic expression and visibility.

Translated into handmade textiles, the drawings acquire a different material presence. Line, gesture and composition become points of connection between the artist’s hand and the processes of craft. A study can be encountered at the scale of an interior while retaining the expressive character of the original drawing, inviting a closer reading of both its formal structure and its subject.

The presentation drew inspiration from TOM House in Echo Park, Los Angeles, where the artist lived during the final decade of his life. Home to Tom of Finland Foundation, the house brings art, personal objects and everyday life into a shared environment. This spirit informed an exhibition concerned with openness, community and freedom of expression, considering how an artwork can preserve an individual vision while contributing to a wider conversation about acceptance and belonging.

Presented in conjunction with Frieze Los Angeles, Kalkeriet’s 2022 Calle Henzel exhibition explored the rug as an artistic surface shaped by abstraction, texture and an irregular outline. The presentation brought attention to the relationship between an individual work and the architectural space around it, with material and placement becoming part of the experience.

Henzel’s Engelholm Nobu (Night Edit), 2021, offers a restrained, near-monochromatic expression of this approach. A dark field is interrupted by tonal shifts and textured edges, while differences in cut pile give the hand-knotted textile surface a changing sense of depth. The outline moves away from a conventional rectangle, allowing the work to establish its own presence within a room.

Across Henzel’s textile practice, marks associated with erosion, wear and transformation become compositional elements. Changes in fibre, pile and light invite close observation, revealing distinctions that are less apparent at a distance. The exhibition considered these works through their physical character and their ability to define space, connecting contemporary art with the processes of textile making and the scale of the interior.

Presented in conjunction with Art Basel Miami Beach, “Object / Object” by Jwan Yosef explores the shifting boundaries between painting and sculpture. A conceptual painter, he considers both the physical structure of an artwork and the language through which we interpret it. The word “object” moves between a material thing and an act of resistance, reflecting the works’ unsettled identities.

Through a process he describes as an “undressing of the canvas,” Yosef pulls, folds, and tucks the painted surface, exposing woven linen and wooden stretcher bars. Coated in gesso and white paint, the canvas assumes sculptural forms reminiscent of drapery in Greco-Roman reliefs. These gestures reveal the painting’s underlying anatomy while transforming its familiar structure into something suspended between image and object.

Each work makes the artist’s intervention visible through acts of revealing, concealing, and reshaping. Rooted in the visual language of minimalism, the series examines how objects acquire meaning and how acts of interpretation connect to broader questions of identity, power, and objectification. By exposing the support and reshaping its surface, Yosef asks the viewer to consider the painting as a constructed object whose meaning remains open to change.

The exhibition explores a little-known aspect of Warhol’s practice while paying homage to his most recognisable subject: Marilyn Monroe. Curated by Joakim Andreasson, it features nine handmade rugs by Henzel Studio, developed in close collaboration with The Andy Warhol Foundation for the Visual Arts.

The collection draws on a maquette Warhol created for an unrealised artist’s book. Its thirty-eight octagonal pages feature cropped details from his celebrated 1967 Marilyn Monroe print portfolio. Discovered in Warhol’s Time Capsule 55 in 1994, the model reveals an unexpected perspective on this familiar image, isolating fragments of Monroe’s portrait as abstract compositions.

Designed by Calle Henzel, the hand-knotted rugs give these compositions a new scale and material presence through colour, texture, and form. Presented alongside reproductions of fourteen Warhol paintings, they explore repetition, abstraction, and deconstruction, creating a dialogue between Warhol’s imagery and contemporary craftsmanship. “The Marilyn Maquette” invites visitors to consider how a recognisable face retains its identity even as it is fragmented, multiplied, and transformed across different media. Changes in scale make these once intimate fragments part of the architecture, encouraging a slower reading of their colour and form.

Marilyn Minter’s practice examines the construction of glamour through images in which beauty, desire and physical imperfection coexist. Reflections, moisture and fractured surfaces interrupt the clarity of the photographic image, drawing attention to the act of looking.

Realised with Henzel Studio, Cracked Glass (2013) extends this investigation into textile. Variations in pile height give the fractures physical depth, while silk details change with the light. The presentation accompanied the digital edition of Art Basel’s Miami Beach programme.

Between Moments presents Mary McCartney’s photographs on textile. Her practice draws attention to unguarded gestures, movement and the quieter intervals of everyday life, finding intimacy through a close and attentive relationship with her subjects.

Chromogenic printing on velour gives these images a material presence, changing how colour, light and detail are encountered. Developed with Henzel Studio, the works bring photographic observation into dialogue with textile and architectural space. The presentation accompanied Photo London Digital.

Jack Pierson’s work moves between drawing, photography and sculpture, allowing fragments and found forms to carry personal and collective associations. His approach to abstraction preserves the sense of an image or object that has been handled, displaced or remembered.

Based on Abstract #12 (2008), Untitled (2018) translates sculptural form into a hand-knotted work developed with Henzel Studio. Its irregular outline and deliberately worn surface bring gesture, texture and scale into close relation. The presentation was held in conjunction with Frieze Los Angeles.

Jack Pierson’s automatic drawings allow the line to unfold through repetition and intuitive movement. Their apparent immediacy holds a tension between spontaneous gesture and the structure that emerges across the surface.

Automatic Drawing (2014), developed with Henzel Studio, carries this language into hand-knotted wool and silk. Lower pile heights articulate the drawn marks, giving line and ground distinct physical qualities. Presented in conjunction with Art Basel Miami Beach, the work considers how a drawn gesture can inhabit architectural space.

Jwan Yosef’s practice tests the boundaries between an image and the material that supports it. Familiar working materials become subjects in their own right, bringing questions of surface, attachment and construction into view.

In Electrical (2019), overlapping strips of tape become a free-form textile work developed with Henzel Studio. Changes in pile height give the composition a layered, sculptural presence, while silk alters its response to light. The presentation was held in conjunction with Frieze London.

Carsten Höller’s practice uses familiar forms to unsettle habitual ways of seeing. Drawing on his background in scientific research, his recurring mushroom works place perception between recognition, uncertainty and play.

Developed with Henzel Studio, Mushroom Carpet (2018) brings these concerns into the scale of an interior. Its free-form outline and changes in pile height give the image a tactile, spatial presence. The focused presentation was held at Kalkeriet Contemporary in Malmö in conjunction with Art Basel.

Helmut Lang’s practice places material, structure and abstract form in close relation. Attention rests on the physical qualities of a surface and the ways an object establishes its presence within a space.

Untitled (2013), realised as a hand-knotted textile work with Henzel Studio, brings these concerns into an architectural setting. Variations in pile height introduce relief, allowing the composition to shift with light and viewing distance. The presentation was held in conjunction with Frieze New York.

Presented as a site-specific installation in conjunction with Frieze London, Marilyn 031C brought Warhol’s portrait into dialogue with Calle Henzel’s approach to textile and form.

Developed through Henzel Studio Heritage in collaboration with The Andy Warhol Foundation for the Visual Arts, the work reinterprets the familiar image through an irregular outline and variations in surface and pile. The hand-knotted construction gives the portrait depth, allowing recognition to move between the image itself and the physical structure that carries it.

In conjunction with Art Basel, Kalkeriet Contemporary brings together hand-knotted works by Anselm Reyle and Wilhelm Sasnal, developed with Henzel Studio.

Reyle translates the folds and reflections of metallic foil into a surface of wool and silk. Sasnal starts from a pencil drawing on graph paper, using variations in pile height to give the lines relief. Shown together, the two works trace how a glint of light and a pencil mark can take on a physical presence in textile.

Kalkeriet Contemporary presented Richard Prince’s 1234-5678-910 as a site-specific installation in conjunction with Frieze New York.

Developed with Henzel Studio, the hand-knotted work extends Prince’s engagement with appropriation, repetition and the circulation of images into textile. Wool and silk give the composition a different density and scale, shifting attention between its graphic structure and the surface produced by hand. Within the installation, the relationship between image, object and surrounding architecture becomes part of the encounter.

Presented in conjunction with Art Basel Hong Kong, Frozen Cut Collection focused on Calle Henzel’s exploration of the rug as an irregular, sculptural surface.

The collection draws on his experiments with textiles exposed to the climate of northern Sweden, translating the effects of weathering, erosion and thaw into free-form outlines and changes in pile height. Realised through hand-knotting, these interventions make the edge and surface active parts of each composition. The works carry traces of those processes into the interior, where texture, light and viewing distance continue to alter their appearance.