Marbelous Wood – Cabin Cover
‘Cabin Cover’ from the Marbelous Wood series, which was included in Danish Crafts Collection CC15, interweaves a dream of a cabin in the forest and an old book with a marbled cover. The hand-decorated wood panels also tell a story about the process of marbling, rendering the traditional craft three-dimensional and capable of covering a space.
Marbelous Wood is not representational of wood; it is the dream of wood, a supernatural wood. Like reading a book and dreaming away to another place, escaping to the colourful forest cabin. Patterns are created using the traditional aqueous surface design technique of marbling, traditionally a technique from bookbinding, which has been repurposed and turned into a three-dimensional surface for interior design purposes. The designer makes the wood panels one at a time and by hand.
Buy here: www.snedkerstudio.dk
Pernille Snedker Hansen
b. 1978, Danish textile artist and designer
Pernille Snedker Hansen studied Textile Design at the Kolding School of Design in 2004 and has a Masters Degree from Central Saint Martins College of Art and Design in London, where she studied Creative Practice for Narrative Environments, in 2007. Among other events, Pernille Snedker Hansen took part in the Biennale for Crafts and Design 2011 in Kolding, where she was nominated for the Biennale Award. In 2009 she exhibited at Gallery 2012 in Copenhagen together with American artist Will Gurley in an exhibition entitled ’The Playce Between’. At the Hayward Gallery in London in 2006 she co-designed an outdoor way-finding system entitled ’Stairs to Dan Flavin’. She received a working grant from the Danish Arts Foundations in 2010, grants from Danmarks Nationalbank’s Anniversary Foundation of 1968 for three consecutive years and a grant from the private foundation Grosserer L. F. Foghts Fond in 2010 and in 2011 a grant from 15 Juni Fonden In 2012 she won a Wallpaper Design Award for her Marbelous Wood flooring.
Pernille Snedker Hansen wants the surfaces she creates to spark curiosity and indirectly change our way of sensing, perceiving and living in our surroundings. She uses nature as an active contributor and leaves some of the finished expression up to natural factors. She believes that the transformable, tactile and poetic quality of textile design can be used to communicate and help change social and sustainable values in the built environment.