"Isfront" Glass Vessel / Vase/Sculpture

by Karen Klim Norway

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Est delivery: Dec 18th, 2021
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Dimension LxWxH (cm): 28x11x28
Unique piece Material : Glass
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“Isfront” can bee seen on the image to the left (the object to the right is “Blåfrost”). Isfront is a glass sculpture/vase made from blown and hot-formed glass, sandblasted, and cut. The piece is by Karen Klim, a glass artist based in Oslo, Norway. With “Isfront” Klim is trying to express the stillness of a moment in nature.

Additional information

Weight 5 kg
Dimensions 50 × 50 × 50 cm
Dimensions LxWxH (cm)

Weight (kg)


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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

The body of work in this collection consists of pieces by Greek designers of the mainland and the diaspora, or international professionals who live and work in Greece. As a common theme we tackle the elusive notion of “Greekness” and how this transpires through the work of seemingly diverse and distinct individuals. In our attempt to define “Greekness”, we aim to raise questions about how this plays out in the work presented. How do Greek designers view their identity? Is it through their effort to decipher their heavy heritage? Is form important in order to achieve a predisposed classic elegance, or is a philosophical disposition towards shape more poignant? Could it be simply a resourcefulness and DIY ethic to make up for the absence of design infrastructure? How do Greek designers based abroad deal with their background? Could it be that they simply ignore it in order to finally free themselves? Is there a certain amount of innovation necessary in order to channel it into the new environment? Finally, how do foreign designers see their work influenced by their Greek surroundings? Is it the reference through the use of noble materials such as marble or the abundance of natural light that makes their work unquestionably Greek? Or could it be something else they were seeking when they decided to move here, something abstract like humour or drama? Could their arrival finally mean a departure from Greek heritage’s self-reference? The pieces that we present might seem ill-matched, but they share an important core element. They are confident in their narrative of a personal story of identity, that is either at peace or against the Greek archetype. Through this communication, they all describe a culturally mature and vibrant scene that is finally extroverted and coming of age.