New and Noted

While the TDC Blog has been quiet since the latter part of 2024, as I’ve been fully immersed in styling, design, and writing projects, January, as always, brings an exciting array of design news—and I can’t let the month slip away without sharing some inspiring new projects and products that have landed in my inbox.

&Tradition Opens a New Showroom in Villeneuve-lès-Avignons, France

Located in Villeneuve-lès-Avignons, in the southern region of France, the new &Tradition showroom is located within a former papal residence dating back to the 16th century. Embracing the history and heritage of the building, whose architectural characteristics reflect those seen throughout the medieval town that surrounds it, &Tradition have taken care to preserve and restore original features, establishing a considered setting in which to showcase their timeless collection.

Providing a comprehensive overview of &Tradition designs from a variety of international creatives, both contemporary and classic, the space offers a curated experience of &Tradition's collection of furniture, lighting and accessories. With an emphasis on classic designs and outdoor furniture, the collection on display has also been selected for its relevance to the local market.

&Tradition Avignon showroom

14 Place de l'Oratoire, 30400 Villeneuve-lès-Avignon, France

Coco Flip Launches new Lighting Collection, Dancer 

Dancer is a new collection of lighting designed by Coco Flip in collaboration with Melbourne-based ceramicist Belinda Wiltshire. Belinda’s refined artistry and bold use of black iron oxide led the design process towards a collection of striking and distinct pieces including table lamps, wall lights and ceiling mounts.

Dancer takes inspiration from the Rriadisches Ballet developed by Oskar Schlemmer, who was part of the Bauhaus design movement in 1920s Germany. The ballet used fantastical costumes and strong geometry to transform the dancers and emphasise their movements. Each dancer piece aims to echo a sense of movement through form and pattern, bringing a strong and character-filled aesthetic to an otherwise minimalist light.

Belinda works from her pottery studio in Preston where each piece is wheel-thrown, hand-finished and fired. Dancer is crafted using mid-fire clay and brushed with black iron oxide, providing a striking contrast against the warm brown clay. Each lamp is offered in three striped finishes—wide, thin, and spaced. Table lamps are available in any combination of these finishes.

Images 1-4: Styling by Jess Lilico / Photography by Tom Ross

Image 5: Styling by Marsha Golemac / Photography by Pier Carthew

Ground Collection by Norm Architects and Massimo Copenhagen

Inspired by the textures and colours found in the natural world, the new Ground collection by Norm Architects and Massimo Copenhagen seeks to evoke a profound sense of home and belonging—serving as a tribute to simplicity and tranquility, seamlessly merging understated beauty with exceptional craftsmanship. Drawing from these earthy tones and subtle hues reminiscent of diverse landscapes, the collection transforms interiors into inviting and harmonious sanctuaries, and with a focus on tactile comfort and enduring quality, the rugs are designed to anchor spaces in calmness and warmth, creating a sensory experience that resonates on every level.

The humble rug is designed to feel at home wherever it is placed. It doesn't demand attention but rather sits comfortably within the space, serving as a foundational element that ties everything together. Ultimately, the aim of the collection is to offer a design element that not only enhances the visual appeal of a room but also contributes to a sense of balance and harmony within the interior environment, where the presence of nature is palpable and fosters a deeper sense of connection and well-being.

Photography by Irina Boersma

Dinesen Country Home Has Been Reimagined By Copenhagen Design Duo Mentze Ottenstein

Dinesen, Denmark’s foremost manufacturer of high-end wooden flooring, and five-generation family company, has crafted high-quality wood solutions since 1896. Their former family house, Dinesen Country Home, is located near the company's manufacturing facilities in Jels, Denmark, and has been an integral part of the Dinesen legacy since 2004 when the family acquired the estate. Recently, the residence underwent a thoughtful renovation by Copenhagen-based architecture and design studio Mentze Ottenstein, signalling a new chapter in the history of the estate and its role in the company.

Built in 1885, the residence is a traditional southern Jutland longhouse with a thatched roof, nestled amid lush green forestry, meadows, and lakes. As a place steeped in the Dinesen family’s history, the home is a living testament to the values and craftsmanship that define the company and the family behind it. While the original framework carried out by Overby was still sound, Mentze Ottenstein reviewed all surfaces and material compositions, introducing a fresh take on colour and working thoroughly with detailing to create a more harmonious experience. The Garde Hvalsøe kitchen features handcrafted cabinets have been painted an eye-catching shade of green as a nod to its countryside location. Elsewhere, a series of hand-turned ceramic bowls from Georgia sit comfortably alongside new walnut and pear kitchen handles. Further colour can be seen in the aisles and small chambers on the first floor, painted in golden ochre, creating a warm and intimate experience.

Fittingly, wood still takes centre stage as the central material palette within the house. The architectural Pawson Furniture Collection by John Pawson for Dinesen in Douglas fir, released earlier this year, sits elegantly next to antique furniture and a series of bespoke new furniture pieces designed by Mentze Ottenstein. These pieces have been made of ash with an oil finish resembling amber and a grain pattern reminiscent of black elm. In addition, deeper-toned wood selections such as walnut and pear are represented, for instance, in frames by Cassetta, which offers a flattering contrast to the light Douglas floors.

The house is designed to evoke a sense of home rather than a showroom while showcasing the stories of numerous exciting collaborations throughout the years. Primarily reserved for Dinesen's friends, design clients and relations to enjoy its breathtaking surroundings and inviting interiors, the house may also later be available for public booking on select dates.

Photography by Monica Grue Steffensen

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Francis Gallery LA Presents Solo Exhibition by Sculptor Nadia Yaron

American sculptor Nadia Yaron's first solo exhibition For the flowers and the clouds and the wind and the trees showcases a new body of work inspired by her deep connection with nature. The exhibition takes place at Rosa Park’s recently launched Francis Gallery LA, and features 31 sculptures made of wood, stone, and metal. The sculptures vary in size and shape, ranging from large totemic works over 6 feet high and weighing 1,000 pounds to talismanic miniature sculptures that can fit in the palm of your hand.

Images: Nadia Yaron at Francis Gallery L.A. Photographer Credit: Elizabeth Carababas

Following a move to Hudson, NY, Yaron repurposed a 19th-century barn as her studio and developed a strong connection with her setting. “As I was making these pieces, I realized I was in the middle of one long love affair with my surroundings: the flowers, the clouds, the wind and the trees,” she says. “I work mostly outside from spring to autumn and am immersed in nature. This show is a tribute, a way to say thank you to these elements for their beauty and wisdom and all the joy they bring to our lives.”

Images: Nadia Yaron Studio. Photography: Sharon Radisch

Taking daily walks in the Catskill Mountains, Yaron relishes discovering subtle moments in nature that act as a gentle reminder of impermanence. She finds the first flowers pushing themselves up from under the snow in the spring to be magical and powerful, inspiring her stone sculptures called First Bloom. Yaron's work includes carved clouds, inspired by the constantly changing Hudson skies, which have left an impression on her. She spends a lot of time contemplating the concept of transience and reflects on how humans often resist change.

Images: Nadia Yaron at Francis Gallery L.A. Photographer Credit: Elizabeth Carababas

Yaron's sculptures consist of stacked totemic forms that hold themselves in delicate equilibrium, with the heaviest piece of stone at the top. Purposefully imperfect and imbalanced, they evoke a sense of discomfort, dissonance, and a reminder of the fragility of life. Carving stone is a laborious process that requires patient and repetitive motions with hand tools to shape the unyielding material into curves and other forms. “I am deeply inspired by the beauty inherent in each piece of stone and wood I work with,” says Yaron. “As I’m carving, I feel as if I’m tapping into the history of our earth – it’s almost like a translation of ancient texts. It’s the recognition of something deeply known. I can feel the energy translated through my materials. If I empty myself enough, I can feel that energy move through me and out of my hands back into the material. It’s a circular flow of energy.”

Images: Nadia Yaron at Francis Gallery L.A. Photography: Elizabeth Carababas

For Yaron, spending time with nature has taught her that we are all connected and that it has much to teach us if we take the time to listen. She aims to inspire others to take care of and protect nature by sharing her own profound connection with it through her sculptures.

Images: Nadia Yaron at Francis Gallery L.A. Photography: Elizabeth Carababas

The show is on now and runs until March 25th.

About Francis Gallery

Francis Gallery supports and promotes the work of more than 25 artists across two spaces, in Bath, UK, and Los Angeles, US. In both locations, the gallery presents work in a grounding setting, where art coexists in harmony with its surroundings, evoking a personal space that celebrates art as a vital part of daily living. The gallery curates innovative exhibitions across multiple media and genres, with programming that emphasises contemporary Korean art and design, drawing on founder and gallery director Rosa Park’s Korean heritage.

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TPC x Sofia Lind — The Paris Metro Collection

Copenhagen-based online store The Poster Club is launching a new ongoing series TPC Feature Collections. With visual stories told by the artists through their craftsmanship and creativity, the series explores how the artists transform their thoughts and concepts into a curated collection of art prints made exclusively for The Poster Club.

For their first collaboration, The Poster Club has curated a collection together with the well-known Swedish artist Sofia Lind. The Paris Metro Collection is inspired by four metro stations in Paris — from the distinct blue tiles at Concorde to the shiny copper at Art et Métiers — each one translated with soft strokes and Sofia's recognisable motifs. 

Inspired by public art, especially art in everyday spaces like commuting locations and public transport, the former engineering student admires the huge effort that lies behind the design of subway stations. She says “For me, to have the opportunity to absorb this: It is like visiting a museum.”

And the choice of the Paris metro as her muse is no coincidence. It holds a significant memory for Sofia Lind. “It symbolises a certain period in my life. I lived in Paris while I finished my bachelor's degree. I did not know anyone and honestly had difficulties with the language,” she tells.

Like most Parisiennes, Sofia Lind travelled with the metro a lot. Being a part of the crowd that rode the metro every morning and every night made her feel like she belonged. “It was a relief to be in a place where no one knew me.” As a natural result, Sofia Lind has spent a lot of time passing through the different metro stations of Paris. And with the new collection of artworks she has gradually transformed the colours and atmospheres of the stations into portrait paintings.

“My art print Waiting at Art et Métiers is a tribute to the station’s brown and copper colours. The big square pieces of copper on the walls and ceiling are just like the squares in my motif. They give a rounded, flexible and wavy feeling at the same time as they build up volume.”

The four metro stations have been the inspiration behind the colour palettes and shapes of Sofia Lind’s art pieces. However, they have also conveyed a certain feeling. Sofia Lind explains: “The deep green tiles around the station name at Place de Clichy are really eye-catching. The tiles are glossy with so many small details. I could look at them for hours. This green colour builds up the print Coffee Alone at Place de Clichy.”

It may sound simple, but 'working hard' is an important part of the Swedish artist’s creative process. The work she puts in every day is what she draws her inspiration from and, she says, it is what gives her the endurance to push the boundaries of her work forward.

“The craft of painting is what inspires me, and putting my work into context is what gives my work meaning.” Driven by the craft, creating art is a way of understanding for Sofia Lind. It helps her gain new perspectives: “Like in my piece Blue Stripe at Concorde. At first glance, you may only see the blue letters on the tiles, but if you stand at the far end of the platform and look up, you see that the blue tiles are creating stripes throughout the tunnel,” she says. “Experiencing, seeing and talking about art... for me, it is a way of being social.”

Styling by Charlotte Skytte Daugbjerg / Photography by Sofie Staunsager

Shop The Paris Metro Collection here.  

Ad / This post contains affiliate links for The Poster Club

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An Interview with Sculptographer Anna Church

Renowned New Zealand artist Anna Church has been living and working in Toronto for the last eight years. Her work is created through the multi-format, fine art medium Sculptography, and has been sold and exhibited globally. As a long-time admirer, I am thrilled to have caught up with Anna to discuss her latest collections, which are nothing short of breathtaking.

The stunning Fine Art Limited Edition prints combine Anna’s natural affinity for tactile materials, and her unique ability to turn these into sculpture before capturing it all through the lens of her camera. I love how Anna’s background in interior styling also comes into play. Her beautiful Toronto villa, where she lives with her husband (also a New Zealander), and two young children, provides the perfect setting for the three new collections.

Your background is originally in graphic design and interior styling. How did this path lead you to become an artist?

I’ve always loved developing new narratives, questioning and viewing things from different angles. I love collaborating and connecting with people. Design and art are a great platform for connection and discovery, I think that’s why I have always immersed myself within it. I’d like to think I can make someone's life a little better or interesting through the themes and processes I use within the art I create. I guess, I discovered that rather than putting paint to canvas, I could build, arrange and sculpt my visions to express my ideas. Photographing my creations has enabled me to bring my tactile, sculptural medium to the canvas, so to speak!

Talk us through your creative process. What spurs your ideas from mind to canvas through the medium Sculptography?

Curiosity, discovery and deeper investigation drive my creative process. An idea may come simply by spying an object or reacting to a word I’ve read, that aligns with a thought or a particular social impasse I may be reflecting or deliberating over, or a combination of the two. From there I work with the objects and assemble or manipulate them to fit the narrative or brief I’ve created for myself. I see my work sitting within the world of both aesthetics and conversation. Nothing is as it first appears. First, there’s a visual attraction but within that, there’s a narrative to discover, a why and how to its conception.

Your incredible new body of work comprises three limited edition art collections. Starting with Perspective Assembly, what was your inspiration behind this series?

Thank you! This series comprises compositions using a refined group of props and materials created from vintage decommissioned mechanical molds. I’d like to think I gave them a second life by assembling them into their new sculptural forms. With connectivity as my theme the ‘WORDS’, Perspective Assembly came to mind and highlighted the repurposing of these old materials and my response to what I was witnessing unveiling in the world that I wanted to portray through this series. They allowed me to incorporate sustainability and unity into my thesis. 

I wanted to emphasise our HUMAN gift and ability to seek and see new connections and outcomes, in ever-evolving ways: and investigate how intervention can lead to invention. These mechanical molds as individual parts put together become greater than the sum of their separate parts. In an era where headlines feel heavy, the notion of exploring and developing new narratives and initiatives is a hopeful message. Maybe through unified collaboration and our shared experiences, a Covid vaccine could be found, and my biggest wish, discovering new initiatives and innovations to save our planet.

You have also released an accompanying limited run of studio studies entitled Assemble. How does this fit alongside Perspective Assembly?

This is a collection that was developed through my preliminary arrangements. They provide a behind the scenes glance at the development of the Perspective Assembly fine art series. They are my ‘Studio Studies’ and they are priced to reflect ‘a work in progress’, rather than being elevated to a Fine Art Limited Edition status.

You describe the Ebb and Flow Series as being an exploration of the relationship between shape, form and negative space through the manipulation of fabric. Can you elaborate on this? Where did the inspiration come from?

I LOVE textiles and visiting fabric shops, it’s a great source of creative inspiration for me (from an interior and art perspective). I spied the way this fabric draped and an idea jumped into my head!

I strongly believe that texture can be used to 'colour' interior spaces, and the tactility of your art is what draws me in. What does this element mean to you, and how is it used to communicate ideas in your work?

Oooo yes, I agree! I love to bring a sculptural, tactile nature into my work and home. I’m drawn to materials that I’m able to layer, create texture and build a sculptural form from. The contorting of the fabric in my Ebb & Flow series simulates recurring ridges, layers, and rhythmical patterns. The mechanical molds used in my Assemble and Perspective Assembly collections, had a wonderfully worn natural patina to them. The light wrapped beautifully around their curves and angles as they lent themselves to be shaped into geometric stylized sculptural formations. I also explored and worked on developing a new textile printing technology with my fine art printer, for both my Perspective Assembly and Ebb & Flow series'. Each fine art photograph is printed on a natural Linen or Belgian linen fabric, intended to be stretched and framed like that of a painted canvas.

Let’s talk about your move to Canada. Has living in Toronto influenced your creativity, and if so, in what way?

Yes, the move has exposed me to different design and art influences and aesthetics across North America. The work I created when I lived in New Zealand very much reflected the ‘Kiwi’ culture. Moving countries has enabled me to make new observations and work on a new playing field of influence. 

I’ve had wonderful opportunities to exhibit alongside a wealth of North American artists and meet and work with designers and Art Consultants, in both Canada, the U.S. and internationally since moving to this side of the world.

Have you found any challenges while creating work in Toronto?

At first yes, when I moved here I had two little ones under 3, we moved to a small condo apartment and I had no studio space or a spare room to turn into one. I had to make all new connections within my new community and the art and design industry here. Toronto is very much like a small village though (that’s one of the main reasons why I love it). Once you know someone in the industry you're very quickly introduced or become familiar with other creators, their work, and field of expertise. I LOVE the Toronto design and arts community for this. Toronto is now becoming renowned for producing some world-class artists and musicians (they were always here, just overshadowed by the neighbour next door). It’s a very exciting, energising and progressive city to be immersed in and I love observing it grow and mature, year after year!

The beautifully curated interior of your Toronto villa provides the perfect backdrop for your work. Does your background in interior styling and your own home's aesthetic influence the art you create?

Yes, absolutely! Selfishly I start from the point of view of what would I like to admire and live with on my own walls or the walls of the interior designers I adore (like your beautiful home and aesthetic, Michelle!). This enables me to insulate my ideas and refine my direction, (as I have many ideas and concepts that permeate my head on any given day). 

Oh, thank you Anna! What have been the highlights of your career to date?

My first ever Limited Edition series I created and sold successfully in NZ. This initial milestone allowed me to gain traction to head towards where I am today. Finding a new footing amongst a new community, in a foreign land. Headlining up the New York Affordable Art fair campaign with my ‘Botanist’ artwork, exhibiting in New York, Miami, Hong Kong and Amsterdam. The support and connections I have made within the industry and with my collectors around the world.

You've talked about the inspiration behind your new work. Is there anything, in particular, that is influencing you right now – things you are reading, listening to, or looking at?

I’m influenced by the Climate Crisis, witnessing social changes and interventions that have been initiated globally from people banding together for these causes. I feel inspired and drawn (as so many others) to be part of a collective force that can hopefully lead to MORE change and MORE innovative pathways to support our planet, our people, communities and cultures. 

I’m either reading or listening to podcasts on these global issues. I’m a true believer in collaboration. In the last few months, we’ve all been able to witness a growing global community working as activists for the common good of each other. I have felt both influenced and inspired by this and I want to incorporate and build upon this messaging, in my work (both in and out of the studio). Perspective Assembly (and Assembly, the accompanying Studio Studies), have begun to highlight my interest in sustainability and connection. Investigating and emphasising our innate human ability to be able to seek and see new connections and outcomes, in ever-evolving ways. I’m visualising and conjuring up new ideas based upon this ethos that I can develop in my studio, over the coming months. 

In addition to New Zealand and Toronto, you have exhibited in New York, Miami, London and Amsterdam. Do you have plans to exhibit in the future?

Yes, I would love to continue to exhibit globally. However as this year became evermore travel restricted (non-existent), I found myself building my global reach and exposure ONLINE, sans a carbon footprint! At the start of this year, I designed a new E-Commerce website, featuring my Artwork in my home and incorporating my process and ‘Behind the scenes’ shots in my studio. My work is also represented and features on international Art focused websites, such as Saatchi Online (US) and Rise Art (UK). I also have had many opportunities to collaborate with Interior Designers and Art consultants on global projects remotely, all from the comfort of my home, which I’m down with, it's great!

You must be due for a break following the release of all your new work, but I suspect you're not one to sit still for long. The Covid-19 lockdown period has been a universally challenging time. How has juggling work with home-schooling affected your creativity and what's on the horizon?

You’re right, I don’t like to sit still for too long (but I do include daydreaming and conceptualising for lengths of time). But due to the recent events of the pandemic unfolding, I haven’t been able to have my much loved creative studio development time. Instead I have had to enlist myself in a sideline career, as chief Homeschool teacher. Having two kids under the age of 10 at home full time hasn’t been too conducive to be able to create and develop new work. Dipping in and out of running my business’s admin alone, homeschooling, staying safe, and connected to my community have been as much as I can handle. 

All I know is when I do get the chance to go back into my studio and create again, I’ll be bursting with ideas and salivating at the thought of creating them and bringing them to fruition!

Styling and photography by Anna Church

I have no doubt that the results will be amazing! 

The new collections are available online at Anna Church with worldwide shipping and through her Gallery Representation. 

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