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SITE 5

NIKO JUNE is an active office and creative workshop set up to test the temperature of good objects (1). The production is impulsive and forever flexible (2). The eclectic catalogue exhibits occasion-based small collections alongside one-off pieces created in collaboration (3) with fine talent. Beyond the collaborations is the semi-permanent collection of NIKO JUNE studio wear and gear.

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Farrell Hundley is a design collaboration between artist Elliott Hundley (b. 1975) and furniture designer William Farrell (b. 1995). They live and work in Los Angeles, California and have been collaborating since early 2019. They focus on unique bronze furniture.

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Glass plays a crucial part, for Audi, in contemplating a speculative utopian future world where humans create cosmic fragments and new types of landscape formations. Using the physical properties of glass, Audi highlights the duality between real and virtual worlds. Through its omnipresence in nearly all contemporary forms of digital devices, glass becomes a signifier of the tension between the realms of the tangible and the digital, as well as a facilitator of the disappearance of physical objects.

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Born October 31, 1953 in New York City. He is a fifth generation furniture maker. Joined the NYC gallery, Art Et Industrie in SoHo, in 1980, remaining with the gallery until its close in 1997, and was one of five core members who, during the 1980s and 90s, reinvigorated the artist-designed furniture genre in the USA. His furniture has been featured editorially in more than one hundred publications internationally; was selected for the redesign of the executive offices of Rolling Stone Magazine in New York, and was used as set decoration in the seminal 80s Hollywood film, Wall Street.
Howard Meister's art work has been exhibited and collected (as part of their permanent collections) by many museums and corporations worldwide; The Metropolitan Museum of Art (New York), The Art Institute of Chicago, The Brooklyn Museum, Queens Museum, The Art Museum of Rhode Island School of Design, The American Craft Museum (New York), The Beaux Arts Museum (Montreal, Canada), The Hudson River Museum, The Palm Beach Museum (Florida) as well as museums in North Carolina and Texas. Howard received the Metropolitan Home Design 100 Award in 1990 (Exhibited at the Citicorp Atrium, New York and Elements of Style). Howard has participated in exhibitions both collective and individual in New York City, Tokyo, London, Paris, Detroit, Osaka, Toronto, Chicago, San Francisco, Northampton, and Austin.

Since 1997, he has worked primarily in digitally manipulated photographic images and artist's books. Meister now lives in rural Massachusetts with his wife, Paula Zindler RN. They have a daughter, Caitlin, who is a voice over artist and photographer.

Painted shaped steel
H 19 x W 45 x D 25 inches

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Numbered edition of 3; Artist’s Proof 3

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Loup Sarion (b. 1987, Toulouse, France) studied at Beaux arts de Paris (2010-2015) and Cooper Union, New York (2013).

Recent solo and duo exhibitions include: Saliva, Berthold Pott Gallery, Cologne; Cannibal Canyon, M+B, Los Angeles (w/ Daniel Boccato); Socrates Sculpture Park, New York; Milch in meinen augen, Kunstverein Heppenheim, Germany; Tuff Titties, Sorry We’re Closed, Brussels (w/ Al Freeman); Chapo, C L E A R I N G, New York (w/ Harold Ancart); Everybody is somebody’s secret, Berthold Pott Gallery, Cologne; Smooth like an alibi, Formatocomodo, Madrid; Langue Pendue, SpazioA, Pistoia, Italy.

Recent group exhibitions include : Carl Kostyál, Sweden; Galleria Continua, Les Moulins, France; NOIRE gallery, Milano, Italy; Espace 251 Nord, Liège, Belgium. In 2021, he founded MARROW, an experimental design project with Rafael Prieto.

Beeswax, charcoal, urethane, plywood
14 x 16 x 27 inches

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Grace Prince b. 1992, London, is a furniture designer and architectural researcher based between Milan and Zürich. After graduating from Central Saint Martins, London in 2015 Prince gained experience in carpentry, marble carving and editorial set design. In 2017 she became the assistant designer to Vincenzo de Cotiis in Milan, working closely with a range of artisans across Italy. Since 2020 Prince has be designing and constructing works under her own name at her studio in Milan. Alongside her practice she is a material researcher at the chair of Prof. Anne Holtrop at the ETH University, Zürich. Her practice addresses authenticity, gesture and collapse, in the understanding that an object becomes more poetic in the suspense of entropy. The chosen theme is illustrated in the title of each collection and brought into functional works via a specific method of practice. This method works to contrive light juxtapositions of material and form via a slow sensory process with the perceptive outcome of speed and chance, such as a haiku in 3D, dedicated to the expression of much within the fewest possible compositional attempts. The result is a suspension of actions, of gestures, concluded and harnessed together through a satisfying tension in form.

White bronze cast from hand carved wood, stainless steel with satin finish, maple wood, chestnut wood, paint, lamp with warm light, clear cable
L 10.2W 3.4H 17 inches

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Maria Sparre-Petersen makes sculptures from recycled container glass, a material that has all the poetic qualities of virgin glass but is much kinder to the planet. She is fascinated by the plasticity and uncertainty of this hybrid material, which is rarely used by studio glassmakers. Sparre-Petersen melts containers in a furnace and then shapes the molten glass into balls, which appear like spherical drops of childhood mystique; she then composes these balls into a pattern which is fused in a frame of high-fired concrete. When heated, each sphere develops a membrane that remains visible as the balls fuse in the kiln, becoming of one piece but appearing distinct, like soap bubbles adhering to each other. An artistic chaos in an ordered array, or graphic elements of liquid mass in a structured frame. Form, pattern, color and light enter into a dialogue and create new stories. In some places, the glass appears matte or translucent — depending on how the light refracts in the material and its depth of the color.

Sustainability is a lifelong passion that Sparre-Petersen pursues with an experimental and socially oriented outlook. She includes the titles of sailor, designer, teacher, Master of Fine Arts and PhD on her CV. Together, these diverse skills paint a straight line to the practice that motivates and inspires Sparre-Petersen today: to spread awareness of recycled glass from a sustainable and ethical perspective. It is a crucial and deeply meaningful ambition, not least because it leaves the virgin materials in the ground, where they belong, and avoids exposing the maker to hazardous substances. 

Furthermore, used glass can be recycled infinitely without losing its material qualities — a capacity that textile, plastic and many other materials lack. The particular material qualities of recycled container glass make for an interesting process. The recycled glass has to be handled differently because it is “shorter” when it is blown, so the glassmaker has to work faster. With this technique it is not always possible to fuse two used window panes because they may be made from different recipes, which means they do not expand in the same way and there- fore develop stress that will cause cracks — immediately or over time. Hence, recycling container glass requires a high level of craftsmanship and technique. And though the challenges of working with recycled materials are greater, so is the satisfaction of cracking the code and knowing that one is making a difference for the planet. Sparre- Petersen is continuously challenged by the specific qualities of the material, which throws up obstacles that she can resolve and also take advantage of. According to Sparre-Petersen, this only makes her conver- sation with the glass more intriguing. The material talks back and sometimes strands the artist on thin ice. This provides new insights, which lead to new methods and techniques that she then can develop and incorporate. Her many studies and experiments have given rise to an aesthetic vocabulary that she could not have arrived at through strategic planning. This is part of the alchemy, when material and idea come together in unpredictable constellations, often rife with contrasts. Like organic playmates in a framework that is only semi-controlled and does not allow for anticipating or planning colors, density, transparency or translucency. The glass artist has to surrender to the will of the material, regardless of experience and technique, which is a beautiful part of the process — a sustainable process that holds good news for a planet under pressure.

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Title: Steel Vase
Designer: Philippe Malouin
Material: white, steel
Dimensions: 15.75 x 3.94 x 7.87 (HxWxD inch)

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British-Canadian Philippe Malouin holds a bachelor’s degree in Design from the Design Academy Eindhoven. He has also studied at the École Nationale Supérieure de Création Industrielle in Paris and University of Montreal. He set up his studio in 2008 after working for English designer Tom Dixon. Philippe has also taught at the Royal College of Art in London between 2012-2015. His diverse portfolio includes tables, rugs, chairs, lights, art objects and installations. Philippe’s client list includes: Vaarnii, De Sede, Iittala, Nike, Please Wait to be Seated, SCP, Marsotto Edizioni, Resident, OTHR, HEM, Ace Hotel, Matter-Made, Established & Sons, Roll & Hill, 1882 ltd., Kvadrat, Umbra Shift, IZÉ, Aesop. He has recently won the Wallpaper* Magazine ‘designer of the year’ award. He has also been named President of the Jury at Villa Noaille’s Design Parade in France. Philippe Lives and works in London, where he operates his design studio.


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Anat Shiftan (Israeli, b. 1955) is a ceramic artist based in New York. She uses artistic and decorative motifs found throughout western art history–floral centerpieces and arranged still life vignettes–to explore her relationship to nature both as a human being and as an artist. In her own words, “When I make my floral piles, I explore the ambivalent condition of our relation with nature. As I attempt to look at nature I realize it is not there for me to view. Nature as an authentic, unpredictable, and uninterrupted phenomenon is not present in our world. Our “nature” is stylized and cultured. Further, nature as a cultural concept is placed in contrast to the mechanized world yet nature is in fact mechanical and predictable…Nature embodies the texture of sexuality, life, and death, of power and subversion, and is very similar to complex political and social phenomena.” Shiftan earned an MFA from Cranbrook Academy of Art and Design in 1986 and is a professor in the ceramics department at SUNY New Paltz where she has held a teaching position since 2003. Her work has been exhibited extensively.

Glazed porcelain
H 16 x W 11 x D 11 inches

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Glazed porcelain
H 16x W 11.5x D 11 inches

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LS GOMMA is a contemporary design studio that works across lighting, furniture and homewares. Seeking new materiality within the domestic realm and production techniques that question existing furniture typologies. Objects are rooted in function but designed to incorporate an inherent gesture that extends beyond this.

PU Rubber + Wire Mesh / Stainless Steel + Light Fixtures
W 15.7 x D 15.7 x H 45.6 inches

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Giovanni Leonardo Bassan is a multidisciplinary Italian artist, born in 1989 in Marostica (Vicenza). His artistic training began at the Art School A. Martini, Schio and then continue at the Politecnico di Milano, graduating in industrial design in 2011. World traveler, participates in many international and volunteering projects. He currently lives and works in Paris, France. As a contemporary artist, articulating the breakdown of the distinction between high/low culture, Bassan lends a European voice, with the sensibility of classical, historical painting, to the expressionism of the new figurative painting. As an observer of the quotidian, Bassan’s painting is a journey through the Parisian heterotopias, those sites of the elsewhere, beyond convention and norm: In the convoluted atmosphere of the city’s alternative party scene, a rapidly shifting landscape, the artist becomes a voyeur, a portraitist, and a participant. Incomplete images, almost cut out from history painting, appear before us juxtaposed, often half-broken, tilting towards the edge. Today his artistic practice embraces disciplines ranging from painting to sculpture, ceramics and furniture design. Bassan tries to offer valuable new perspective, studying alternative techniques and applying traditional forms in contemporary shapes. It is with a sensible shamelessly approach, full of emotions, that his pieces leads us to think. Giovanni’s early mentor, Michèle Lamy, provided him with his first studio space in Paris, the city where he continues to live and work. His art has been shown internationally, in both group and solo exhibitions.

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Ceramic and concrete
(5 elements)
51 x 8.3 x 6 inches

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Linen/powder-coated steel Light Source 6.5W LED 2700 Kelvin (warm)
W 32 x D 24 x H 15 inches

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Linen/powder-coated steel Light Source 6.5W LED 2700 Kelvin (warm)
W 53 x D 20 x H 8 inches

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Kristina Riska (Finnish, b.1960) is one of Scandinavia’s foremost contemporary ceramic artists and a senior member of the Arabia Art Department Society in Helsinki.

Riska has been exploring, defying, and redefining the traditional tenets of ceramic sculpture since the 1980s. Her unorthodox, large-scale works, inspired by nature and the properties of light and shadow, embody her rigorous and physical approach to her work. Riska begins the conceptualization of her works on paper, her designs ultimately coming to fruition spontaneously as she works. Her process is a foray into the unknown; with each unplanned, instinctive manipulation of the clay, she establishes a non-physical “internal” space. She describes this space as a repository for her qualities of quietude, serenity, and concentration. Her unique ceramic sculptures are astounding in their technical prowess; their impressive scale is matched with equal delicacy; the artist creates forms that seemingly defy gravity and the constraints of the ceramic process. Her craftsmanship is evident as well in the beauty of her glazes, given the limitations of firing such monumental objects in the kiln.

In 1986, Riska exhibited at the Gallery Bronda, which could be considered her first critical success. On display were a series of vessels so large that the installation proved quite difficult. The State Art Collection purchased two works from the show, spurring a career in which she has been well recognized in her home country and abroad. In 1991 Riska exhibited jointly with the architect Kimmo Friman at Gallery Kluuvi. By this time she had abandoned all the traditional tenets of pot making - her curvaceous, imbricated, porous forms were recognized with prestigious accolades, including the State’s Suomi Prize in 1995 and a silver medal at the International Ceramic Contest in Mino, Japan in 2002.

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Shozo Michikawa (Japanese, b. 1953) is a ceramic artist based in Seto, Japan where he has maintained a studio since 1975. Michikawa creates expressive gestural sculptures inspired by nature, his native Japanese landscape, and steeped in centuries-old ceramic techniques. First acknowledging the traditional wheel-thrown vessel, Michikawa pushes the form to its extent, scratching and scoring the surfaces as well as twisting the structures along their central axis. The resulting works are quietly powerful sculptures with subtle traces of functionality. 

Michikawa has exhibited widely in Japan as well as internationally. His work is included in many important public and private collections including the Shimada City Museum, Japan, Victoria and Albert Museum, London, Los Angeles County Museum of Art, and Philadelphia Museum of Art.

Natural ash sculptural form, 2020
Shozo Michikawa

Stoneware, Anagama firing
H 27 x W 8.5 x D 8.5 inches

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Nick Ross (1986) is a Scottish-Swedish designer who presently resides and works in Stockholm. In Scotland, he studied Product Design at Grays School of Art in Aberdeen and afterwards moved to Stockholm, where he continued his training in Interior Architecture and Furniture Design, taking a masters at Konstfack (University College of Arts, Crafts and Design) graduating in 2013. Nick founded his own studio in 2014. His research focuses on the complex repertoire of history, particularly ancient history, where he finds the factors with which to interpret the relationship between the user and contemporary design. Using storytelling as a pretext and applying an always critical approach, Nick Ross is interested in investigating facts and happenings that have determined specific cultural balances; every project comes from the desire to create ideal or real bridges between the present society and that of the past.

Aluminum plate, Rimowa aluminum sheet, rivets
W 17.7 x D 34.6 x H 30.7 inches

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Babs Haenen (Dutch, b. 1948) is an internationally renowned ceramic artist based in Amsterdam whose expressive and idiosyncratic sculptures equally emphasize color, line and form. Influenced by 20th-century abstract painting as well as elements from the natural world, Haenen’s distinctive technique starts with creating richly pigmented and painterly compositions on slabs of porcelain. These compositions are then cut, folded, and built into three-dimensional sculptures resulting in objects that resemble vessels or geological forms. Vibrant, organic, and quirky, Haenen’s work hovers between art and craft, and are always imbued with a dynamic inner choreography.

Haenen was a professional dancer before attending the Gerrit Rietvleld Academy. She later returned to teach at the Academy for 19 years. Her work has been exhibited widely, both domestically and internationally, and resides in prestigious collections such as the Museum of Contemporary Ceramic Art in Shigaraki, Japan, the Museum of Fine Art in Boston, and the Carnegie Institute Museum of Art in Pittsburgh as well as in her home country including the Stedelijk Museum, Amsterdam, the Boijmans Museum van Beuningen in Rotterdam, and the Frans Hals Museum in Haarlem.

Porcelain, pigment
W 10.75 x D 10.75 x H 19 inches

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Julia Thompson is an artist from Toronto, Ontario, currently working in Los Angeles. She works in sculpture, video, and installation, often employing materials that decay, harden, soften, move and transform. The materials she employs (ie. soap, wax, candy) communicate a convergence of time, investigating its qualities of freezing, stagnancy, and passing. Unstable moments stemming from her everyday experiences grounds her work; in response, her work serves as a testament to liminality.