The Japanese bed is custom-made according to a customer's desire for a sculptural piece of furniture that can also function as a bed. The bed is made of mitered pine beams and bolted together with threaded rods of stainless steel.
The bed frame has an angled beam as a headboard. The frame itself 'floats' on the floor - raised by invisible continuous rails. The entire frame is burnt black with the Japanese Shou Sugi Ban technique and subsequently treated with linseed oil beeswax.
The bed frame can be made in the dimensions for any existing mattress and/or bed base.
Edition: Reproducible furniture
Material / dimensions: Pine beam 20x20 cm, iron, stainless steel bolts, bed frame outer dimensions 240x200 cm the inner dimensions 200x160 cm
Provenance: Tissø Savværk, Tissø
Production: Westseeland Working Workshop @VAK
Photo: Per Schandorff
Sold / Price on request
The two pieces of wood that make up each tray are assembled in pairs and joined together by two oak rails. The wood comes from a sluice gate from Brede Værk. The sluice gate has acted as a regulator for the water flow from Mølledammen to Mølleåen, where the water has acted as an energy source for the watermills in Brede industrial plant (1798). The constant flow of fresh water through the cracks that have arisen over time in the sluice gate has shaped the wood through a slow erosion and given the wood a distinctive weathered expression. The wood has been dried for several years and sanded with a sanding fan to a fine and soft surface.
Material / dimensions: Pomeranian pine 101x33 cm, oak rails 33x3 cm
Edition: Unique object #1
Exhibited: Christiania Museum of Art, Christiania September 2020
Provenance: Old sluice gate - Brede Værk, Brede, Mølleåen, Virum
Production: At Finn Andersen, Hejrevej, Copenhagen
Photo: Jan Türck Kallesen
The name ‘Line table’ arose as a determination to categorically minimizing consumption of materials. The Line Table is constructed with a ceaseless joist, in which there are eight continuous carbon fiber rods, which at the same time form the table's legs and support the table top. The rods are terminated at both ends with identical set screws, lathed in EPDM rubber, on which the glass plate rests without further fastening.
The Line Table's minimalist construction is a further elaboration of an early table construction, based on an intention to create a simple and highly constructive system with rich possibilities of compositional and material variation.
Edition: 1st prototype, under development 2020
Material / dimensions: Smoked oak plank 200x17x3 cm, eight carbon fiber rods Ø16 mm
EPDM rubber set screws, armoured grayiss glass (table top 280x70x1.2 cm)
Exhibited: Christiania Museum of Art, Christiania September 2020
Production: Joiner Toke Overgård - Bolchefabrikken + own workshop in Burmeistersgade
Photo: Jan Türck Kallesen
Prototype - under development
The bench, with 92 brass legs, is made of an old mooring pole in Pomeranian pine. The wood is sanded and has a silky soft surface. The 92 legs are made of brass, finished by a short bent foot.
The bench appears as a functional sculpture. The heavy wooden body and the abundance of legs make it rests heavy and stable on the floor. When the bench is raised on the rear, the object is exposed significantly differently - the many legs look like soft spines on the back of an animal.
Edition: Unique object 2020
Material / dimensions: Pomeranian pine 125x33x33 cm, 92 pieces Ø8 brass legs
Exhibited: Christiania Museum of Art, Christiania September 2020
Provenance: At lake shore by the bridge to Refshaleøen, Copenhagen 2019
Production: The Danish Art Workshop + own workshop in Burmeistersgade
Photo: Jan Türck Kallesen
The expression of the table is a reciprocity between construction, processing and the degradation processes of nature, which constitute a sensuous design partner.
The bog oak beam is a part from an old shipwreck. The beam, the joist, together with the eight continuous oak rods constitute the core of the table's construction. The eight continuous oak rods are burned with the Japanese Shou Sugi Ban technique.
The simple construction principle of the table is based on a minimal material consumption. The table can in principle be made by using only manual tools and natural resources; twist drill, saw, knife, bone glue and wood. Joist, leg / table top supports as well as table top can all be made of any suitable material.
Edition: Unique object 2014-2021
Material / dimensions: Bog oak log 150x21x21 cm, approx. 30 kg, eight rods of oak Ø32 mm, leather, table top in grey glass 225x70x1.2 cm
Exhibited: Marianne Weiss Goldsmiths, Hellerup @marianneweiss
Provenance: Erdkehlgraven in 2016, Holmen, Copenhagen
Production: Processed by Finn Andersen + Own workshop in Burmeistersgade
Photo: Per Schandorff
The spiral mute server is intended as an exclusive sculptural mute server. The mute server consists of an upright solid high-polished steel pole positioned on a circular foot. The foot is bend as a spiral (Fibonacci spiral) and continues in a vertically upwards movement - as the core of the stand. At the top, nine thinner steel bars (arms) are placed perpendicular to the core of the bar, in a spiral pattern, the arms are finished by balls of bog oak and new oak - on which the clothes can hang.
The repetitive Fibonacci-inspired theme associates with the universal patterns that recur throughout the growth and formations of nature. In this way, the mute servant, as an ordinary functional everyday object, is a silent sculptural informant attached to a universal existential context.
Edition: 1st edition 2020
Material / dimensions: Solid steel Ø25 mm, q196 cm high, nine ‘arms’ of steel Ø8 mm, nine balls of bog oak and oak
Exhibited: Christiania Museum of Art, Christiania September 2020
Provenance: Bog oak, Erdkehlgraven on Holmen, Copenhagen 2018
Production: The steel pole is bent by Emil Nielsen Smedeværksted A/S, Gentofte
Oak balls lathed by Peter Jacobsen, Christiania automobilclub workshop + own workshop in Burmeistersgade
Photo: Jan Türck Kallesen
The stool has traces of its former function - probably as part of a bulwark. The support legs are made of old polished brass pipes with marks of wear.
The wooden block has been found floating in the harbour at Trekroner fortification, and has been processed with: drying, cleaning, sanding with a sanding fan and wet polishing in linseed oil. The surface is glossy and silky smooth.
Edition: Unique object 2014
Material / dimensions: Pomeranian piner h45xb33x33 cm, brass pipe ø32 mm, leather
Exhibited: Marianne Weiss Goldsmiths, Strandvejen, Hellerup, @marianneweiss
Provenance: Trekroner bulwark, Copenhagen 2013 Production: Workshopcommunity PB43 Prags 2014
Photo: @brianengblad
The Shipwreck bench is constructed on the basis of a bog oak plank. The plank has clear traces that show its original function as part of a ship construction. The four polished brass legs are mounted directly in the solid plank. The legs are finished with feet of core leather. The contrast, between the massive plank in bog oak with its silky soft surface and the four strong brass legs, leaves an exceptionally stable, almost delicate, rustic furniture object.
Edition: Unique object
Material / dimensions: Bog oak 290x40x40 cm, 25 kg, four Ø32 brass pipes, leather
Exhibited: Christiania Museum of Art, Christiania September 2020
Provenance: Erdkehlgraven at Holmen, Copenhagen 2016
Production: Own workshop in Burmeistersgade
Photo: Jan Türck Kallesen
The body of the side table consists of a piece of eroded pine. This wood piece is one part of a larger block, which due to decay was divided into two parts during the move - out of it came two tables!
On the underside of the table are marked traces of erosion and decomposing processes. After years of drying, the table has been sanded and polished with a sanding fan and saturated with linseed oil. A process that restores and preserves the still healthy properties of the wood. The 23 legs of the side table are added to the body in a dynamic even pattern, leaving the side table with an expression that can be associated with an animal in motion.
Material / dimensions: Pomeranian pine l72xh45xw46 cm, 23 rods of oak ø12
Edition: Unique object #2
Exhibited: Pavilion no 11 Kings Garden, Copenhagen April 2018 and Christiania Museum of Art, Christiania September 2020
Provenance: Dæmningssøen at the bridge to Refshaleøen, Copenhagen 2013
Production:The Danish Art Workshop
Photo: @brianengblad
The signal columns are originally mooring poles. They have been found, after a fierce autumn storm, on the shores of a dam reservoir. The columns has almost been penetrated by naval shipworms, in a fascinating pattern of holes. The columns are dried out and sanded with a sanding fan.
Each column has its own signature by indentation, piercing or with a smooth surface. All the columns has been burned with the Japanese shou sugi ban technique. Interventions that gives each pillar its own signal identity with references to communication forms of primitive cultures. Each pillar stands on a plinth thus standing slightly floating on the floor surface.
Edition: Unique object 2020
Material / dimensions: Pomeranian pine, linseed oil, gas burning, height 150 cm, plywood
Exhibited: Christiania Museum of Art, Christiania September 2020
Provenance: Dæmningsøen at the bridge to Refshaleøen, Copenhagen 2018
Production: Own workshop in Burmeistersgade
Knots without end is part of a series of four knots. They all consist of long pieces of weathered synthetic material with a former industrial function.
The knots are tied so they appear without a start and end point. The knots are tied as so-called ‘granny knot’ or knots that occur by random entanglement. The knots can thus be seen as an illustration of an absolute physical connection or union, or as a picture of difficult-to-solve problems.
Edition: Unique object #2 2016
Material / dimensions: Rubber strip approx. ø23 cm
Exhibited: Christiania Museum of Art, Christiania September 2020
Provenance: Acquired material
Production: Own workshop in Burmeistersgade
Photo: @brianengblad
The name Crawling Bench comes from the fact that the trunk, seen from the rear, strangely resembles the buttocks of a crawling human being.
The processing of the wood has taken place in water and sea - and by drying out in the sun, which has both preserved the tree trunk and given it the characteristic silver-grey appearance.
Edition: Unique object 2019
Material / dimensions: Tree trunk in unknown wood specie 290x40 cm, 30 kg
Exhibited: Christiania Museum of Art, Christiania September 2020
Provenance: The coast at Stevns Klint in 2019
Production: Own workshop in Burmeistersgade
Photo: Jan Türck Kallesen
Sold
The ‘NAG Store’ assignment was a sculptural interior and design project with elements of diverse objects. Christian Back was the owner of the high end design fashion NAG Store in Copenhagen. The assignment instigated ‘Furniture Objects’.
Edition: Interior 2011-13
Material / dimensions: Wood, steel, glass, bones, ropes, chains etc.
Exhibited: NAG Store (fashion), Pilestræde/Klareboderne, Copenhagen
Provenance: A variety of maritime finds
Production: Margretheholmen, Refshaleøen
Photo: Per Schandorff
Owned by NAG Store (2011-2014)
by Per Schandorff
STADENS MUSEUM FOR KUNST 2020
Photos: Jan Türck Kallesen
This floating shelf is made for a customer with a desire to turn their own driftwood find into a constructive interior item. The shelf is suspended in four thin cords of carbon fiber, that can handle an extremely large load despite their lightness. The shelf floats like a balanced ornament, rustic and usable.
Material / dimensions: Driftwood 290x18x6 cm, 4 mm carbon fiber string
Edition: Unique object / interior
Exhibited: Private
Provenance: Private find
Production: Private
Photo: Per Schandorff
Sold
Knots without end is part of a series of four knots. They all consist of long pieces of weathered synthetic material with a former industrial function.
The knots are tied so they appear without a start and end point. The knots are tied as so-called ‘granny knot’ or knots that occur by random entanglement. The knots can thus be seen as an illustration of an absolute physical connection or union, or as a picture of difficult-to-solve problems.
Edition: Unique object #3 2016
Material / dimensions: Rubber strip approx. ø22 cm
Exhibited: Christiania Museum of Art, Christiania September 2020
Provenance: Acquired material 2013
Production: Own workshop in Burmeistersgade
Photo: @brianengblad
The idea for the hanging kokedama plants arose from the customer's desire to give life and warmth to their bathroom. Kokedama is a Japanese plant technique. The Kokedama plants are suspended in long hooks of brass thus enable the plants to be lifted off easily for regular watering. The plants hang from three bleached longitudinal tree trunks of driftwood. The bathroom got the desired effect of; heat, moisture and scent - and appears as a functional greenhouse of the home.
Edition: Reproducible interior 2018
Material / dimensions: Forest driftwood 350 cm, brass rods ø2.5mm, hemp rope, sphagnum, akadama, moss, steel wire and plants
Exhibited: Roxana Kia
Provenance: Stevns Klint
Production: On site
Photo: Per Schandorff
Sold
Knots without end is part of a series of four knots. They all consist of long pieces of weathered synthetic material with a former industrial function.
The knots are tied so they appear without a start and end point. The knots are tied as so-called ‘granny knot’ or knots that occur by random entanglement. The knots can thus be seen as an illustration of an absolute physical connection or union, or as a picture of difficult-to-solve problems.
Edition: Unique object #1 2016
Material / dimensions: Rubber strip approx. ø18 cm
Exhibited: Christiania Museum of Art, Christiania September 2020
Provenance: Acquired material
Production: Own workshop in Burmeistersgade
Photo: @brianengblad
The name ‘Hanger’ is an abbreviated term for a hanging object on which one can hang clothes. In English ‘coat hanger’ or ‘hanger’. Each Hanger object consists of unique pieces of wood with its own unique expression. The individual Hanger have been fitted with handmade brass or steel hooks on which clothes can be hung. The hangers hang from the ceiling in heavy rubber straps or hemp ropes.
After the decayed wood has been removed and only healthy heartwood remains, it has been saturated with linseed oil, whereby the wood regains its healthy properties.
Material / dimensions: Oregon pine 190 cm, brass
Edition: Unique Object # 4 2014
Exhibited: Private
Provenance: South Swedish bog
Production: Danish Art Workshop @SMK
Photo: Per Schandorff
Sold
The ⅞ cube table is made by assembling seven cubes of equal size. The omission of the last cube leaves the cube unfinished with a geometric imperfection. The cube stands best on the wooden end faces.
The cube is constructed of fresh fir wood. The surface of the cube has been burned with the Japanese Shou Sugi Ban technique and treated with oil of linseed and beeswax. It appears silky matt.
Edition: Reproducible object 2020
Material / dimensions: 7 pieces of fir wood cubes 18x18x18 cm
Exhibited: Christiania Museum of Art, Christiania September 2020
Provenance: Tissø Sawmill, Tissø
Production: Westseeland Working Workshop @VAK, own workshop in Burmeistersgade
Photo: Jan Türck Kallesen
The podium contains an excerpt of collected natural and industrial objects that are processed and weathered by sun, wind and water. The objects are an expression of the organic beauty that is everywhere in the natural environment around us. The podium appears as one inspiration archive.
The objects of the podium contain a tale of a past life. The objects are characterized by not having a predefined function, and they can thus be seen as a contrast to common newly produced consumables. The podium collection is an expression of nature as superb designer.
The signal columns are originally mooring poles. They have been found, after a fierce autumn storm, on the shores of a dam reservoir. The columns have almost been penetrated by naval shipworms, in a fascinating pattern of holes. The columns are dried out and sanded with a sanding fan.
Each column has its own signature by indentation, piercing or with a smooth surface. All the columns have been burned with the Japanese shou sugi ban technique. Interventions that give each pillar its own signal identity with references to communication forms of primitive cultures. Each pillar stands on a plinth thus standing slightly floating on the floor surface.
Edition: Unique object 2020
Material / dimensions: Pomeranian pine, linseed oil, gas burning, height 210 cm, plywood 30x30 cm
Exhibited: Christiania Museum of Art, Christiania September 2020
Provenance: Dæmningsøen at the bridge to Refshaleøen, Copenhagen 2018
Production: Own workshop in Burmeistersgade
Photo: Jan Türck Kallesen
The body of the side table consists of a piece of eroded pine. This wood piece is one part of a larger block, which due to decay was divided into two parts during the move - out of it came two tables!
On the underside of the table are marked traces of erosion and decomposing processes. After years of drying, the table has been sanded and polished with a sanding fan and saturated with linseed oil. A process that restores and preserves the still healthy properties of the wood. The 23 legs of the side table are added to the body in a dynamic even pattern, leaving the side table with an expression that can be associated with an animal in motion.
Material / dimensions: Pomeranian pine l72xh45xb46 cm, 23 rods of oak ø12mm
Edition: Unique object #1
Exhibited: Pavillon no 11 2015
Provenance: Dæmningssøen at the bridge to Refshaleøen, Copenhagen 2013
Production: Danish Art Workshop @smk
Photo: @brianengblad
Sold
The spiral mute server is a combination of a solid high-polished steel base and a pole of heartwood oak. The base of the pole is a circle that bend as a spiral (Fibonacci spiral), which continues into the oak pole – raising vertically up as the core of the stand. At the top, nine thinner carbon fibre (arms) are placed perpendicular to the core bar, in a spiral pattern, the arms are finished by balls of bog oak and new oak - on which the clothes can hang.
The repetitive Fibonacci-inspired theme associates with the universal patterns that recur throughout the growth and formations of nature. In this way, the mute servant, as an ordinary functional everyday object, is a silent sculptural informant attached to a universal existential context.
Edition: 1st edition 2020
Material / dimensions: Solid steel Ø25 mm and oak pole Ø25 mm, 196 cm high, nine ‘arms’ of carbon fibre Ø8 mm, nine balls of bog oak and oak
Exhibited: Christiania Museum of Art, Christiania September 2020
Provenance: Bog oak, Erdkehlgraven on Holmen, Copenhagen 2018
Production: The steel pole is bent by Emil Nielsen Smedeværksted A/S, Gentofte
Oak balls lathed by Peter Jacobsen + own workshop in Burmeistersgade
Photo: Jan Türck Kallesen
The bench is made on the basis of a piece of former bulwark beam. Two huge bolts pases through the beam - as a sign of the wood's former industrial function. The beam is attached with 25 thin oak rods as the bench's so-called 'thousand legs'.
Material / dimensions: Pomeranian pine l150 x h45 x b33 cm, 23 rods of oak ø12mm
Edition: Unique object 2014
Exhibited: Private, https://boligmagasinet.dk/boliger/idyl-ved-vandet
Provenance: Trekroner pier, Copenhagen 2013
Production: Danish Art Workshop @smk
Photo: Bolig Magasinet + Per Schandorff
Sold
by Per Schandorff
PAVILLION 11 – 2016
The aluminium piece was found while diving at Helsingborg’s industrial port. The aluminium piece appears as a purely sculptural expression. The piece has been beaten against the sandy bottom and the stone pier, where from the random expression and shape has arisen. The fine porous and sharp edges of the pieces are an expression of the violence and the constant processing that nature can provide. The aluminium pieces are cleaned with a high pressure washer and treated with oxalic acid.
Edition: Unique object 2017
Material / dimensions: Aluminium 63x54x43 cm, 2.5 kg
Exhibited: Christiania Museum of Art, Christiania September 2020
Provenance: Helsingborg Industrial port 2014, Helsingborg, Sweden
Production: Own workshop in Burmeistersgade
Photo: @jantürkkallesen
The bones were found in the Thames during ebb tide. The bones are probably ancient slaughter waste, from both households and butchers in London, where the Thames served as the dustbin of the time. The bone pieces has been rubbed against the stones on the riverbed of the Thames for years and have thus got soft shapes.
The bones are oiled and composed in new sculptural formations connected by steel rods. The sculptures are inspired by molecular structures as fragmented parts of an animal's organism and as figurative illustrations of a constant connection between everything.
Edition: Unique objects 2011
Material / dimensions: Animal bones, stainless steel
Exhibited: NAG Store
Provenance: Thames river, London 2010
Production: Margretheholmen, Refshaleøen, Copenhagen
Photo: Per Schandorff
Sold
Edition: Unique sculpture 2014
Material / dimensions: Steel frame + reinforcement mesh 210x500 cm, oak 40x40x40 cm, cast iron, flat steel
Exhibited: The Free High School (Det Frie Gymnasium) , Struenseegade 50, Copenhagen
Provenance: Original letters from buildings: METROPOLITANSKOLEN + Det Frie Gymnasium
Production: The Free High School
Photo: Per Schandorff
Owned by public institution
The kitchen shelf is custom made for a customer who wanted a rustic shelf of driftwood for the kitchen. The shelf is made of three pieces of wreckage, which support a 12 mm armoured glass shelf of 3.5 meters. The shelf appears as a rustic and elegant functional sculpture.
Material / dimensions: Wreck wood, armoured glass, brass
Edition: Unique interior 2014
Exhibited: Private + https://boligmagasinet.dk/boliger/idyl-ved-vandet
Provenance: Harbour area in Denmark
Production: Own workshop in Burmeistersgade
Photo: Per Schandorff
Sold
The name ‘Hanger’ is an abbreviated term for a hanging object on which one can hang clothes. In English ‘coat hanger’ or ‘hanger’. Each Hanger object consists of unique pieces of wood with its own unique expression. The individual Hanger have been fitted with handmade brass or steel hooks on which clothes can be hung. The hangers hang from the ceiling in heavy rubber straps or hemp ropes.
After the decayed wood has been removed and only healthy heartwood remains, it has been saturated with linseed oil, whereby the wood regains its healthy properties.
Edition: Unique Object # 2 2015
Material / dimensions: Bulwark wood, iron spire, rubber strap, brass
Exhibited: Christiania Museum of Art, Christiania September 2020
Origin: Copenhagen Fortress
Production: Danish Art Workshop @SMK, own workshop in Burmeistersgade
Photo: Jan Türck Kallesen
The name ‘Hanger’ is an abbreviated term for a hanging object on which one can hang clothes. In English ‘coat hanger’ or ‘hanger’. Each Hanger object consists of unique pieces of wood with its own unique expression. The individual Hanger have been fitted with handmade brass or steel hooks on which clothes can be hung. The hangers hang from the ceiling in heavy rubber straps or hemp ropes.
After the decayed wood has been removed and only healthy heartwood remains.
Edition: Unique Object # 3 2014
Material / dimensions: Unknown soft wood 190 cm, brass, rubber strap
Exhibited: Christiania Museum of Art, Christiania September 2020
Provenance: Copenhagen Fortress 2014
Production: Danish Art Workshop @SMK, own workshop in Burmeistersgade
Photo: Jan Türck Kallesen
The name ‘Hanger’ is an abbreviated term for a hanging object on which one can hang clothes. In English ‘coat hanger’ or ‘hanger’. Each Hanger object consists of unique pieces of wood with its own unique expression. The individual hangers have been fitted with handmade brass or steel hooks on which clothes can be hung. The hangers hang from the ceiling in heavy rubber straps or hemp ropes.
After the decayed wood has been removed and only healthy heartwood remains, it has been saturated with linseed oil, whereby the wood regains its healthy properties.
Edition: Unique object 2020
Material / dimensions: Oke pole 169 cm, brass, rope of hemp
Exhibited: Private
Provenance: Farm in southern Sweden 2012
Production: Danish Art Workshop @SMK, own workshop in Burmeistersgade
Photo: Per Schandorff
Sold
The coaching room is designed as a workspace for life coach Roxana Kia, to her original ‘Hart Mind Institute' on Refshaleøen. The space was part of an old shipyard. The inspiration for the interior and the atmosphere in the room was based on a natural concurrence between the coaching's mental movements and the place's original maritime connection.
The room was often showered in sunlight, therefore the choice of dark objects and dark floor, mixed with maritime signal colours, created a fundamental warmth and humour in the room. Most objects in the room were equipped with wheels enabling the decor to be changed quickly. All painting and patina was based on linseed oil products.
Material / dimensions: Lath boards, steel pipes, linseed oil paint, etc.
Exhibited: Hart Mind institute, Refshaleøen
Provenance: New materials
Production: Finn Andersens production workshop
Photo: Per Schandorff
Private owned by Hart Mind institute, Refshaleøen
The signal columns are originally mooring poles. They have been found, after a fierce autumn storm, on the shores of a dam reservoir. The columns have almost been penetrated by naval shipworms, in a fascinating pattern of holes. The columns are dried out and sanded with a sanding fan.
Each column has its own signature by indentation, piercing or with a smooth surface. All the columns have been burned with the Japanese shou sugi ban technique. Interventions that give each pillar its own signal identity with references to communication forms of primitive cultures. Each pillar stands on a plinth thus standing slightly floating on the floor surface.
Edition: Unique object 2020
Material / dimensions: Pomeranian pine, linseed oil, gas burning, height 210 cm, plywood
Exhibited: Christiania Museum of Art, Christiania September 2020
Provenance: Dam the lake at the bridge to Refshaleøen, Copenhagen 2018
Production: Own workshop in Burmeistersgade
Photo: Jan Türck Kallesen
