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Meet the Swedish Brand Championing “Bold Minimalism” With Rugs That Are Stylish, but Subtle

When Liza Laserow-Berglund, her husband Fabian Berglund, and his brother Felix Berglund decided to start a business together, the biggest thing they had in common was Sweden, and their desire to share some part of their native country’s vibe with the rest of the world. When they realized that rugs played a huge part in every Swede’s life, they founded Nordic Knots, a rug brand aimed at spreading the Scandinavian design gospel. Their goal? A highly curated brand offering mid-range rugs with a distinct point of view — but not one loud enough to overwhelm a room.
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Lighting Designer Lukas Peet on Balancing the Sculptural and the Saleable

Lukas Peet's first commercially successful lighting design — and the one that brought him to our attention way back in 2011 — looked like diamond wedding band that had been stretched into a three-foot-long oval tube. An arch of shiny gold at the top, flowing into a glowing strip of LEDs nestled inside the contoured glass, his Rudi light was inspired by his father, a jeweler. That light's success was enough to convince Peet that lighting might be the most interesting path for him to follow in design, and with his fellow Vancouver-based creatives, Caine Heintzman and Matt Davis, Peet co-founded the commercial and residential lighting manufacturer and studio ANDlight.
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Dirk van der Kooij On Creating a Truly Circular Design Process — And On Using Your Old Nirvana CDs to Make Furniture

To ensure true circularity, Van der Kooij and his team of carpenters, welders, colorists, and finishers make use of proprietary technology including house-developed presses, robots, and extruders to transform waste materials such as discarded CDs, leather sofas, kitchen appliances, chocolate molds, and diseased wood into singular pieces made to stand the test of time and trends.
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In Her Paintings, Becky Suss Creates Real or Imagined Interiors From Memory

Because we don't cover art as our primary discipline here at Sight Unseen, we typically discover artists a bit more slowly than we do designers, and usually by way of gallery shows, art fairs, or Instagram wormholes. But I discovered Philadelphia-born painter Becky Suss in perhaps the most Sight Unseen — or at least the most me — way possible: Her 2016 painting, August (above), adorns the cover of LA harpist Mary Lattimore's Hundreds of Days, one of the many albums that helped propel me through the emotional black hole that was 2020.
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Caroline Denervaud’s Paintings Are a Dialogue Between Art and Dance

It was French artist Yves Klein who, in 1960, first used women’s bodies as canvases, covering them in blue paint to study the impressions they made on paper, while an orchestra played on. Swiss-born multi-disciplinary artist Caroline Denervaud’s vibrant, abstract artworks recall Klein's pioneering performative work, and also comprise the emotionally raw, humanistic approach to movement as seen in the works of visionary German dance choreographer Pina Bausch. “She was the first person who inspired me,” recalls Denervaud.
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Marco Campardo and the Marta Gallery Founders On Obsessive YouTubing, Failed Projects, and the Importance of Craftsmanship in Design

Considering the Italian designer Marco Campardo’s long friendship with Marta Gallery founders Benjamin Critton and Heidi Korsavong — as well as the trio’s shared interest in a multidisciplinary approach — we decided to go Interview Magazine–style with this Q&A and allow the three room to riff on ideas about collaboration, identity, and digital representation in design.
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Emily Mullin’s 3D Reliefs Are Like Morandi Still-Lifes On Acid

The new sculptures that make up Brooklyn-based artist Emily Mullin’s just-opened show at Jack Hanley Gallery are, to put it lightly, a riot: fringed or seemingly filigreed ceramic vessels scrawled on with what looks like crayon or painted in imprecise patterns, sitting atop blobby, brightly colored plinths. At first glance, you wouldn’t associate the boisterous reliefs with the quiet, muted tones found in still lifes by 20th-century Italian painter Giorgio Morandi, but upon further inspection, the comparison makes a lot of sense.
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Peter Gudrunas Has Been Blowing Glass Since the 1970s. Now His Daughter is Helping to Bring Their Practice Into the 21st Century.

The 2008 financial crisis wiped out the majority of Gudrunas’ clients, and in the following years the interest in buying fine crafts sputtered. It wasn’t until 2014 that the business was revived, when his youngest daughter, artist and filmmaker Iris Fraser-Gudrunas, stepped in to manage, eventually developing a vision for how Sirius Glassworks could evolve.
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James Shaw On Why He Hopes His Design Practice Will One Day Eat Itself

“Daffodils are great,” says British designer James Shaw when I point out the bright yellow bunch sitting behind him in his southeast London workshop during our Zoom call. “They always start off really unpromising as those little green buds, and then they get better and better and they last for ages.” It’s an apt metaphor for Shaw’s own work, which often begins as discarded post-consumer plastic that he turns into slightly trippy organic forms reminiscent of crude cake frosting, created with his self-built plastic extruding gun and sculpted into quotidian objects from toilet paper holders to bowls, candelabras, and chairs.
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This Canadian Designer is Leading the Charge — No Pun Intended — to Prove Lighting Can Be Both Efficient and Beautiful

Caine Heintzman’s designs are among the most expressive produced by his company, ANDLight; you've surely seen his Vine light, which can only be described by the contemporary term "chonky," hanging in places like the Pieces Home in Kennebunk, Maine. But in fact, Heintzman's designs are typically inspired by hardy, everyday industrial objects. He designs in a modular way so that his products can exist singularly or be grouped and customized for various spaces and projects, and evolve far into the future.
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Anastasia Komar’s New Leather Goods Nod to Everything from Karl Springer to Superstudio

The wavy line is everywhere. It's in the puddle-shaped mirrors that have become ubiquitous on Instagram; it's in the amoeba-shaped tables that have popped up in millennial interiors. Remember the scalloped trim on that Collectible booth last spring? (Related: Remember fairs?) And yet we're still seeing novel applications of a trope that of course dates way beyond even midcentury touchstones like Jean Royère and Karl Springer. The latest is on a series of crossbody bags, totes, and clutches by the Moscow-born, New York–based multi-disciplinarian Anastasia Komar, who designs under the studio name Forms.
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