THE POWER OF GREY
— STUDIO OLIVER GUSTAV
ART
A tribute to the poetic yet haunting atmospheres of the canvases of Vilhelm Hammershøi (1864-1916), designer Oliver Gustav’s studio gallery is modelled on the oil-on-canvas interior paintings of the fêted Danish artist. A self-confessed extreme minimalist, Gustav finds his own sensibilities reflected in Hammershøi’s spareness.
“I need to show objects at the studio but I’ve always preferred very pared-down spaces where I can rest my eyes. That’s why I reflect Hammershøi’s paintings. His architectural details and sharp corners were character enough.”
Exploring the impact of Hammershøi’s mastery over the limited and cold Nordic light, and how this is reflected within his own studio space, Gustav discusses his succinct homage to Hammershøi’s distinctive vision.
The story of Hammershøi’s artwork as guide for the studio of Oliver Gustav is featured in Ark Journal VOL III.
WORDS TILI BENSLEY-NETTHEIM
PHOTOGRAPHY PETER RØDSGAARD RASMUSSEN
FRAMED COMPOSITION
— REBEKKA BAY AND RICKY NORDSON
On the surface, Rebekka Bay and Ricky Nordson’s apartment in the historic heart of Copenhagen is a minimalist vision all in white, replete with rich details typical of the neighbourhood’s 18th century architecture.
PRINCIPLES OF FREEDOM
— HALLERÖD HOUSE
On the island of Blidö in the Swedish archipelago, Halleroed founders, Christian and Ruxandra Halleröd, found the freedom to design for pleasure within a forest of fir, pine and juniper trees.
TERRA IGNOTA
— ÅKE E:SON LINDMAN
The chemigrams of Åke E: son Lindman swap the literalness of his highly regarded architecture photos for the uncertain procedure of creating images without a camera or a subject.
THE POWER OF GREY — STUDIO OLIVER GUSTAV
ART
A tribute to the poetic yet haunting atmospheres of the canvases of Vilhelm Hammershøi (1864-1916), designer Oliver Gustav’s studio gallery is modelled on the oil-on-canvas interior paintings of the fêted Danish artist. A self-confessed extreme minimalist, Gustav finds his own sensibilities reflected in Hammershøi’s spareness.
“I need to show objects at the studio but I’ve always preferred very pared-down spaces where I can rest my eyes. That’s why I reflect Hammershøi’s paintings. His architectural details and sharp corners were character enough.”
Exploring the impact of Hammershøi’s mastery over the limited and cold Nordic light, and how this is reflected within his own studio space, Gustav discusses his succinct homage to Hammershøi’s distinctive vision.
The story of Hammershøi’s artwork as guide for the studio of Oliver Gustav is featured in Ark Journal VOL III.
WORDS TILI BENSLEY-NETTHEIM
PHOTOGRAPHY PETER RØDSGAARD RASMUSSEN