10 Questions With… Mariah Nielson

The opening of the gallery, which is located at Point Reyes Station in California also coincided with a renewed interest in Blunk’s work in wood and ceramic. Kasmin Gallery opened the artist’s first New York exhibition in 2020, displaying a broad range of material and scale. The same year, a self-titled book was released by the London publisher Dent-De-Leone, and since, Blunk’s work has been featured in group exhibitions at Blum & Poe, R & Company, The Landing, and Anthony Meier. In 2022, Kasmin Gallery opened another solo show to exhibit the largest display of Blunk’s jewelry, titled Muse. In February, The Future Perfect will open a show of Blunk’s work at their Los Angeles space during art fair Frieze L.A.; this spring, Martell Foundation in Cognac will open the first European survey of Blunk, with exhibition design by Martino Gamper. 

How Mariah Nielson Honors the Legacy of Her Father, JB Blunk

Interior Design: Could you tell us how you decided to initiate Blunk Space?

Mariah Nielson: I set up the gallery in June of 2021, which is also when we had our first show. The JB Blunk Estate had taken over the lease of this space in Point Reyes Station in May of 2020, and we originally planned to use it as our archive and storage for online products, and an office. Once we moved in, we realized we had enough room to exhibit some of my father’s work. The presentation of JB’s work in June of 2021 kicked off a series of exhibitions. Then we decided to focus on turning the space into a gallery because it can accommodate shows beautifully. The space has a charm to it: it used to be an old mechanic’s garage, where they repaired cars in the 1940s; in the ‘60s, it was converted into a series of retail spaces, so it has a very broad industrial feel. We painted the whole space white and the floor is concrete. There are beautiful wood beams exposed in the ceiling, and there are really interesting angles because of the way the space was chopped up back in the ‘60s.

ID: As the curator, how do you select the exhibiting artists? Do they have to be responding to your father’s work in a way?

MN: The focus of the gallery is JB’s work and the artists from his circle. There are also contemporary artists and designers with links to my father’s work. These are artists who are inspired by his work and in some cases have spent time at his home or have perhaps been looking at his work from afar. Everyone who exhibits has some connection to JB’s practice and is referencing his work in some way, whether historically or in a contemporary way.

ID: Remembering Kasmin Gallery’s Chelsea show of JB Blunk’s furniture, sculpture, and jewelry in 2021, scale is an important element in his work. How does this element of unity between large and small pieces come together in gallery shows?

MN: I love a mix of scales and mediums—that blend of mediums is really important because that’s what my father did on a daily basis. In the summer of 2022, we had a show of large paintings by Jack Wright, as big as we can fit in through the door basically. Last year, we also had large tables and this exquisite redwood mirror in an exhibition of Charles de Lisle and Rick Yoshimoto. We fit the mirror through the door and it looked fantastic, and we called it “The Magic Portal.”

ID: JB Blunk was also heavily influenced by Japanese ceramics. Are you interested in exhibiting Japanese artists and designers at the gallery?

MN: Sure, we had a show of Rick Yoshimoto, who is Japanese-Hawaiian, and in late 2021, we had the ceramic exhibition, Mingei to Modern which included a number of Japanese artists. We have exhibitions lined up next year and into 2025 with Japanese artists, and “100 Hooks” includes quite a number of artists from Japan as well.

ID: How influential is your previous curator role at the Museum of Craft and Design, San Francisco today? There must be an emotional element to running a space under your father’s name but does your previous experience influence it in any way?

MN: The museum really trusted me when they hired me to be the curator because I was an architect and I didn’t have a lot of experience working as a curator. I was running the JB Blunk Residency out of my father’s home when I began working at the museum. That said, I had curated shows with the artists and residents and had a bit of experience in terms of bringing work together and organizing a show. But the museum really gave me a chance, which I’m extremely grateful for. What I learned working at the museum was how to put a show together from the beginning to the end, with all of the logistics: How to manage a team, how to do the lighting, or the exhibition text, which was all a great foundation.

ID: The gallery’s previous show with Martino Gamper and Adam Pogue had a humorous element. Gamper’s work feels inspired by the Italian Radical movement of the ‘60s. How did you end up inviting them for a show?

MN: I met Martino in 2008. I helped him curate his design is a state of mind show at the Serpentine and actually lived next door to him for quite a few years in London. I was looking forward to the chance of having a show of his work at our gallery, and there is such a strong connection between his work and Adam’s, as well as my father’s. Martino has been looking at my father’s work for years and is deeply inspired by the home. I am really happy with this pairing.

ID: Obsession, I think, was an element in JB’s work in terms of materials, process, and scale. I see a similar thread in Gamper’s work with his “100 Chairs” project and your current “100 Hooks” exhibition.

MN: The obsessive and the playful qualities in Martino’s work are absolutely in line with my father’s work. There is also the interest in working with salvaged materials. Martino’s “100 Chairs” are those he found on the streets of London, and my father’s salvaged wood comes from up north. They both took what others considered useless and transformed them into something absolutely beautiful.

ID: Function and art are mingled in a mysterious way in JB Blunk’s practice. How does the “100 Hooks” exhibition represent this?

MN: There’s always this element of surprise in JB’s work. What can you do with a hook, which is an object that’s ubiquitous and typically overlooked? How can you create something or play with that typology and create something that’s actually the center of attention?

These Ceramic Tiles Bring a Pop of Pastel to the Kitchen

A taste for sweets crosses cultures and geographic boundaries, a sort of universal language of desire and delight. So, it’s only appropriate that delectable pastries were the inspiration for Patisserie, a collection conceived by Bodin Hon and Dilara Kan Hon of Studio Yellowdot. The design duo, based in Hong Kong and Turkey, paid a visit to tile manufacturer Orhan Gorbon’s Istanbul workshop, where they were mesmerized by the production process…and reminded of a pastry kitchen. The playful shapes and pastel hues of donuts, eclairs, and biscuits became innovative dry-pressed ceramic tiles that bring sugary energy to actual kitchens worldwide. The three-dimensional tiles are handmade from pigmented and glazed clay—but look good enough to eat.

10 Questions With… Serhii Makhno

Against war’s physical and emotional destruction, artists often craft resilience through making. Ukrainian ceramicist, architect, and interior designer Serhii Makhno’s first exhibition with Chelsea, New York, gallery Les Ateliers Courbet stems from such phoenix-like blossoming of creativity during the ongoing Russian conflict. The show’s mostly large-scale sculptural and functional ceramic works have travelled from Makhno’s Kyiv studio to New York during a time of scarcity and peril, but the bulbous elegant forms defy fragility. From a fully hand-formed ceramic armchair to a life-size mirror, the shapes challenge our understanding of functional ceramics through their ambitious scale and pristine production.

“I have a deep love for clay—it’s like nature itself in a malleable form,” Makhno says. “Clay has its character, and frequently, things don’t go as planned. Many pieces can crack or deform during the firing process, which is part of the beauty of imperfection.” While working on the show’s pieces with his team of around 60 people during wartime, the artist admits to have learned to “appreciate these ‘flawed’ pieces.” From an elegantly-bent floor lamp to a wall-spanning shelf structure, the works allure to Makhno’s broad practice as an architect who has helmed around 600 projects in 25 countries. His sculptural and holistic approach to aesthetic and use, whether envisioning an interior or a chair, yields sleekly contemporary and mysteriously spiritual results. From Japan’s wabi-sabi teachings to Ukraine’s long tradition of craft and ceramics, various inspirations are alchemized in Makhno’s practice. “Nature is the greatest resource; everything comes from it,” he adds. He often brings rocks, branches, bits of ceramics, seeds, or plant fruits back to his home, “and many of the objects I’ve created have been inspired by these discoveries.”

Here, Makhno shares insights into his New York show, personal journey with clay and architecture, and newly established MAKHNO Art Foundation.

Ukrainian Designer Serhii Makhno on Creativity Through an Array of Mediums

Interior Design: How does being engaged with art, pottery, and architecture influence your practice? 

Serhii Makhno: The three disciplines of art, pottery, and architecture have a profound influence on my work. While architecture came into my life somewhat later than art and pottery, it holds a primary place in terms of importance. My architectural work is my profession, while pottery and creativity are my inspiration. They constantly nourish and support each other, and this symbiotic relationship fuels my creative development.

ID: Your studio practice seems to be a crucial element of your process, including the time you dedicate there and collaborating with other makers. Could you talk about the role of maintaining a densely-operating studio in your work?

SM: My studio is of utmost importance to me; it is the place where our ideas come to life. It’s where my concepts, combined with the experience and skills of my team, are transformed into tangible objects. It’s truly magical to see sketches evolve into chairs, sculptures, or lamps over time. I have a dedicated team I trust, so I often provide them with a sketch outlining the general idea, and they take it from there, involving me in each stage. Sometimes, our team introduces their own ideas, which we collaborate on to refine into the final product.

ID: How has your studio life transformed following the Russian invasion?

SM: Currently, I work remotely. My main priority is to secure orders for the studio. I need to ensure a steady stream of projects to support the studio and production, as I have a large team depending on it. Working from a distance is physically more challenging, but modern communication tools have proven invaluable in allowing us to adapt and continue our work effectively. But despite the war, the studio continues to work and never really stopped, we have had all the facilities work during black-outs.

ID: Timelessness is a common thread in your Atelier Courbet pieces. When the present seems so precarious and unpredictable, what does it mean to design objects that challenge the traits of the moment?

SM: The collection we designed for Les Ateliers Courbets is, first and foremost, art. It exudes stability, permanence, and archaic qualities. It’s akin to the Earth, the foundation of everything. I aimed to convey feelings of tolerance, weight, density, and impermeability through these objects. In a world marked by instability, these pieces serve as stabilizing and protective elements.

ID: Wabi-sabi is a major influence in your work. How do you accept imperfection as a designer?

SM: The philosophy of wabi-sabi has gradually unfolded for me, and I continue to explore it. Around a decade ago, I came across Axel Vervoordt’s book “Wabi Inspirations” in Milan. It featured enigmatic and atmospheric photos of interior details. The book was quite expensive, and at the time, I didn’t fully understand its significance. Nevertheless, I purchased it, and that marked the beginning of my journey into wabi-sabi aesthetics. Today, my extended stays in Japan provide me with various perspectives on this aesthetic concept and continue to inspire me.

ID: I read that visiting Japan helped you realize the wealth of Ukrainian design heritage and embrace it. How do you let traditional penetrate into your design philosophy?

SM: When I first visited Japan, I was astonished by [people’s] reverence for tradition, preservation of cultural heritage, and the way they pass down knowledge from generation to generation. Almost every endeavor there has dynasties. Ukrainian culture has always been a source of inspiration for me, and it seamlessly fits into my design philosophy, which combines art, modern design, and elements from Ukrainian and Japanese culture.

ID: Could you talk about MAKHNO Art Foundation and its role in your overall practice?

SM: The MAKHNO Art Foundation was founded in 2020. The foundation’s mission is to usher in a new era of Ukrainian art by blending contemporary ceramics, architecture, and design with artisan traditions and authentic techniques. It aims to create contemporary art that reflects our rich cultural heritage while maintaining a strong connection to Ukrainian identity.

The foundation aspires to initiate a new wave of Ukrainian art that highlights the country’s uniqueness and creative potential, showcasing both visual beauty and deep cultural roots. It’s an exciting project, and I look forward to seeing the remarkable creations that emerge from this endeavor.

ID: Describe the physical attributes of your studio; what is your day-to-day work like?

SM: The studio is adorned with photos of our completed projects on the walls. The entrance has a zone dedicated to the awards and accolades we’ve received, including two Red Dot design awards.

I always dreamed of having a large office where many people could work. After the move, we expected our team to expand, so we renovated the space accordingly. For example, the two-story interior features an upper floor converted into working spaces, connected by a staircase to the lower floor, which houses a tea ceremony room. Vertical greenery separates the two levels, inspired by wabi-sabi design.

Cersaie Celebrates its 40th Anniversary in Bologna, Italy

Cersaie, the International Exhibition of Ceramic Tiles and Bathroom Furnishings, recently closed its 40th edition with much to celebrate. Numbers first. Visitor attendance was up. Roughly 100,000 international guests, an almost nine percent increase, came to explore the latest artistic and technical offerings from 353 exhibitors in the ceramic tile sector. There was plenty to see. Ceramic and porcelain offer a blank slate for manufacturers and designers to present not only sustainable and durable alternatives to wood and stone as dead ringers, but graphics and creations of their own. We are often asked, after all this time haven’t you seen it all? To which we respond: Do we ever tire of viewing art, analogously presented on the blank slate of canvas?

Introductions initially catching our eye were those suggesting optimism and a sense of play. Channel that to a bright chromatic story and even a throwback to old-school video gaming as seen at Gruppo Bardelli S.p.A. Industrial Group and big color blocks at Glocal. Tying into design’s increasingly popular maker’s movement were hand-painted ceramics, especially those from Cersarda on Sardinia’s Costa Smeralda and Francesco de Maio from that other famed vacation draw, the Amalfi coast. At the opposite end of the spectrum were pastels, particularly striking as pinks and blue grays imparting otherworldly tones to onyx. Our friend and INTERIOR DESIGN Hall of Famer Piero Lissoni developed an entire dusky-toned palette, Boost, for Atlas Concorde also presenting Diamond, a bold black and white modular graphic by Zaha Hadid Architects. Cersaie’s roll call of other top-name designers included Paola Navone (another Hall of Fame alum), Nendo, and Ferruccio Laviani.

Whooping-sized slabs and technology creating seemingly soft, silky surfaces as counterpoint to their hard stone looks comprised Cersaie’s other big news. The latter likely suggested cocooning. Without question, though, standouts were Refin’s Cera, its molten wax-like face derived from digital imagery of melting candles and Flaviker’s Drape. Floor-to-ceiling panels of flowing, quasi 3-D curtains begged to be touched to determine the truth.

Of course, sustainability efforts also were on full display. Addressing abatement, emissions, circularity, and dematerialization, sustainability constituted an ever-present underlying theme. As one booth proudly proclaimed: lighter, leaner, greener. An apt mantra for the show.

For those who couldn’t make it, take our visual tour, and make plans for Cersaie 2024, September 23 to 27 in Bologna.

Highlights from Cersaie 2023, the International Exhibition of Ceramic Tile and Bathroom Furnishings

Flaviker

Part of the Art Walls collection, pale green panels (one color only) are 47-inch by 9-foot tall depictions of flowing fabric curtains.

Atlas Concorde Diamond

Zaha Hadid Architects created a modular graphic collection of diamond and rhomboid forms (like a Rorschach test) capable of spanning a wall’s height thanks to borders at top and bottom. According to Paolo Zilli, associate director of ZHA, “it’s a project blending a classic mosaic with a disruptive element.”

Boost Color

Piero Lissoni’s Boost Color Project encompasses 14 shades with a soft, velvety surface and one texture called Frog.

Fondovalle

Iridescent peacock feathers on oversized porcelain slabs are a new take on the popular wallcovering theme.

Ceramiche Refin

Look closely to see that Cera’s surface, albeit hard and durable, seems soft as molten thanks to digital technology. Cera, by the way, means wax in Italian.

Ceramica Fiornese

Designed by 23 Bassi, the graphic group in dusky colors, is inspired by three Italian cities, our beloved Florence, Siena, and L’Aquila. Pictured is Siena.

Gruppo Bardelli

Caledio, created by the firm’s owner and designer Gianmaria Bardelli, is a handmade collection of porcelain stoneware, its forms and colors inspired by the classic kaleidoscope toy. A system of colors, shapes, and sizes, the group provides almost limitless possibilities for designers’ imagination.

Decoratori Bassanesi

Oki Sato, the studio’s chief designer, turned to nature, specifically the wind and its effects on water, grass, and rice paddies to inspire his through-body, plaster-like ceramic tiles, their surfaces “grooved and chiseled” for the impression of depth in four combinable patterns.

Francesco De Maio

Inspired by ancient cathedrals plus inimitable Tiffany glass, studio (a+b) dominion quaquaro created their version of illuminated glasswork on ceramics with hand-made brushstrokes. Below, an urban-styled jungle in four patterns, fantastical florals on terra cotta or stoneware with an optional anti-slip finish were inspired by Path of the Gods, a hiking route along the Amalfi Coast from Agerola to Positano.

Cerasarda

A mix of charming hand-painted ceramics comes in sunny green, yellow, rosy pink, and blue hues recalling the firm’s Mediterranean roots.

Lea

To his Pigmenti collection, a color story of 14 shades launched last year, Ferruccio Laviani added a linear graphic, i.e., Segni for a dimensional metal effect in five iterations on ultra-thin slabs claiming 100% carbon neutrality.

Mary Katrantzou Creates a Vintage Inspired Collection for Villeroy & Boch

Fashion designer (and one-time architectural student) Mary Katrantzou is known for her wild prints that cohere through studied symmetry. The Greek-born, London-based creative’s first foray into interior design nods to both, with tile that is both digitally printed and traditionally screen-printed with a step and repeat of colorful, varied butterflies set within frames styled as postage stamps. They form the basis of Victorian, a ceramic wall-and-floor tile collection for Villeroy & Boch that draws from the manufacturer’s two centuries of history. It’s also inspired by Katrantzou’s own legacy: namely prior collections centered around collecting and Victorian ornamentation.

Matheus Farah e Manoel Maia Arquitetura Earn a Best of Year Award for São Paulo Chocolate Shop

2021 Best of Year winner for Counter Service

Its nearly 200,000 Instagram followers is one indication that Dengo is a maker of world-changing chocolate, or, for those fluent in Portuguese, Chocolate com sabor de mudar o mundo, the Brazilian company’s slogan. Its cocoa comes from trees in sustainably managed agro forests, and the Bahia farmers from which the beans are acquired are fairly paid. Matheus Farah e Manoel Maia Arquitetura was equally conscientious in its design of Dengo’s first freestanding site, a 16,000-square-foot, four-story concept store that also happens to be the country’s tallest wooden building. And that wood is engineered CLT, which is prefabricated, thermally efficient, and easy to install, reducing project costs, duration, and waste.

Native peroba do campo composes the table bases, casegoods, and bar face in the Meu Dengo station, where customers can customize ingredients. Also noteworthy is the flooring. Called caquinhos, or little pieces, it consists of re-constituted shards of broken red ceramic. It was a popular style in 1940’s and ’50’s São Paulo homes but also nods to Dengo’s best-selling product: Quebra-Quebra, big bars of chocolate that can be broken into many pieces for sharing—sweet and affectionate, which just happens to be the Bahia translation of dengo.

Matheus Farah e Manoel Maia Arquitetura: Matheus Farah; Manoel Maia; Polímnia Garro; Andreia Oshiro; Fernanda Miguel; Rafhael Silva; Pedro Benatti; Matheus Aleixo; Alex Pataro; Henrique Costa; Isabella Rosa

Yvon Smeets Unveils Colorful Oddities Vases Bursting With Texture

Yvon Smeets takes on animating a familiar inanimate object. Her collection of oddities vases come in polyester thread, ceramic, steel wire, and acrylic spray in White, Red, or Blue.