For Rasmus Fanhann, noble craftsmanship and optic patterns characterize his Naguri bench (2023). Inspired by the Japanese technique of the same name, the bench changes appearance according to the surrounding light, thanks to its hexagon relief. To a large degree, Fenhann’s work represents the aristocratic quality of delicate handmade cabinetmaking expressed by the Japanese term Sashimono (指物).
His work is guided by the same principles of simplicity, repetition and respect for wood as a living material. His painstakingly precise treatment of wood surfaces, ending up in a velvet-like, soft finish and with invisible joints, is the result of an extraordinary effort, which is both mental and physical. Fenhann even takes the importance of tradition through to the materials he works with.
The solid mahogany wood of the Naguri bench was salvaged from the workshop of the great Italian master wood craftsman, Pierluigi Ghianda (1926-2015) of Milan. Fenhann’s choice of working with salvaged wood is not only for its historical importance, but equally in support of his ecological values, as he constantly upcycles wood from diverse locations, respectfully allowing a rare and precious material, which has taken hundreds of years to grow, to carry new forms, functions and emotions.
“Naguri” refers to a Japanese woodcut technique in which large cuts are made using an axe on a wood surface. By applying the geometric principles behind this technique, Fenhann has created a pattern that is both tactile and reflective.
Naguri
2023
Mahogany
180 x 27 x h44 cm
Handmade by the artist
Limited edition of 3
Naguri
2023
Mahogany
180 x 27 x h44 cm
Handmade by the artist
Limited edition of 3
Naguri
2023
Mahogany
180 x 27 x h44 cm
Handmade by the artist
Limited edition of 3
Naguri
2023
Mahogany
180 x 27 x h44 cm
Handmade by the artist
Limited edition of 3
Naguri
2023
Mahogany
180 x 27 x h44 cm
Handmade by the artist
Limited edition of 3
Creating designs with an equal focus on sculptural and functional qualities, Rasmus Fenhann’s works are made in carefully selected natural materials, especially wood. He is considered as one of the most important Scandinavian designers today in the field of handmade art design. His working processes combines traditional, sometimes near-forgotten craft techniques with advanced high-tech procedures, including computer-based sketching and visualization. His painstakingly precise treatment of wood sur faces, ending up in a velvet-like, soft finish and with invisible joints, is the result of an extraordinary effort, which is both mental and physical. It is exquisite craftsmanship, close to the obsessive. In the words of the artist, “It has to do with being able to zoom in, infinitely… There mustn’t be any flaws, not even the tiniest, in the delicate woodwork. Time is key, and infinite repetition is expected until a level of breathtaking per fection is reached.”
Rasmus Fenhann has a double education from the Danish Royal Academy of Ar t and Design, Furniture Depar tment 1997-2003, and as a Cabinetmaker 1991-1996. He has frequently exhibited in Japan, Europe and in the United States, and his works are part of impor tant private and public collections including the permanent collection of the Designmuseum Danmark, Copenhagen, Denmark. Rasmus Fenhann has received several Prizes and awards such as the Danish Arts and Crafts Silver Medal, 2004; the Finn Juhl Prize, 2016 and most recently, the Inga & Ejvind Kold Christensen Prize in 2022.