"Frostskog/Frozen Woodland" Glass Vessel / Vase/Sculpture

by Karen Klim Norway

1.120 Incl.0% TAX
Insured Delivery: 112
Est delivery: Nov 4th, 2021
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Made to order

Estimated production time: 4 weeks

Dimension LxWxH (cm): 29x23x29
Unique piece Material : Glass
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Description

“Frostskog/Frozen Woodland” is a glass sculpture/vase made from blown and hot-formed glass, sandblasted, cut and partially polished. Made by Karen Klim, a glass artist based in Oslo, Norway. This work is reflecting nature during the winter season.

Additional information

Weight 4 kg
Dimensions 50 × 50 × 50 cm
Dimensions LxWxH (cm)

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About the designer


Karen Klim

Karen Klim (b. 1951, Copenhagen) has since 1978 been living and working in Oslo.

She was educated at The Royal Danish Academy, School af Design ( 1970-75 ) and

at The National School of Glass in Orrefors, Sweden ( 1976). Klim has been leading the way in Norwegian glass for 40 years and through  her poetic interpretations of Nordic nature she has developed 

her very own personal unique and aesthetic expression.

 

Karen Klim has exhibited extensively in Norway and abroad. Klim\'s work is represented in a number of private collections and among others in The National Museum of Art,Architecture and Design in Oslo, KODE Art Museums in Bergen, Sørlandets Museum of Art in Kristianssand, The Danish Museum of  

Art and Design in Copenhagen and Victoria and Albert Museum in London.

Curated by

Currently there exists a group of designers who have reintroduced the vitality of craft into Turkish design. Their work is a continuation of the craft techniques adapted to contemporary fabrication. Importantly, they have also reorganized the symbolic potential of local Turkish craft, working directly with craftspeople who are more centrally involved in the creation of these designs. Designers working as collaborators with these craftspeople invigorate design and, at the same, using the means of handcraft, rejuvenate the symbolic import of design through a focus on gesture, form, and technique revealing a latent symbolism organically driven through process. This focus on touch leads to another feature of Turkish design: the imperfect gesture. Gestures ranging from the perfect to the imperfect are an important factor in the final form of an object. They determine the shape and contours of objects in their realization, and have an underlying iconic potency. For thousands of years, the performance of the hand in cutting, shaping, molding, and chiseling materials was the key factor in the final form of many objects. The hand’s capabilities and limitations guided the process in which function was realized, and also resulted in the aesthetics and stylization of the object, generating what can be described as “latent symbolic force”. The aesthetic and stylistic symbolism connects the object to its maker and designers giving a sense of authorial identity and originality to each work. The designer and craftsperson collaboratively and cooperatively realize this design, thus connecting to the symbolic potential of craft and objects. With geometry and pattern as a basis, form is realized within the material production of design, its techniques, and material constraints, resulting in what we can loosely term as the idiom of Turkish design in this synthesis of symbol and craft.