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A first image need not have the last word. Collection 02 brings familiar pieces into the company of metal by Yeodong Yun, ceramic vessels by Shane Gabier and Sharlen Nozawa, and glass vases by Verre d’Onge. Earlier works appear again beside these additions, placing continuity at the centre of the collection.

At aarticles, each collection extends a philosophy of living with objects over time. Found objects, sculptural works and pieces by contemporary makers enter a growing catalogue, where earlier objects are seen again under another light through later scenes and new arrangements.

New arrivals available now on aarticles.co

A first image need not have the last word. Collection 02 brings familiar pieces into the company of metal by Yeodong Yun, ceramic vessels by Shane Gabier and Sharlen Nozawa, and glass vases by Verre d’Onge. Earlier works appear again beside these additions, placing continuity at the centre of the collection.

At aarticles, each collection extends a philosophy of living with objects over time. Found objects, sculptural works and pieces by contemporary makers enter a growing catalogue, where earlier objects are seen again under another light through later scenes and new arrangements.

New arrivals available now on aarticles.co

A first image need not have the last word. Collection 02 brings familiar pieces into the company of metal by Yeodong Yun, ceramic vessels by Shane Gabier and Sharlen Nozawa, and glass vases by Verre d’Onge. Earlier works appear again beside these additions, placing continuity at the centre of the collection.

At aarticles, each collection extends a philosophy of living with objects over time. Found objects, sculptural works and pieces by contemporary makers enter a growing catalogue, where earlier objects are seen again under another light through later scenes and new arrangements.

New arrivals available now on aarticles.co

A first image need not have the last word. Collection 02 brings familiar pieces into the company of metal by Yeodong Yun, ceramic vessels by Shane Gabier and Sharlen Nozawa, and glass vases by Verre d’Onge. Earlier works appear again beside these additions, placing continuity at the centre of the collection.

At aarticles, each collection extends a philosophy of living with objects over time. Found objects, sculptural works and pieces by contemporary makers enter a growing catalogue, where earlier objects are seen again under another light through later scenes and new arrangements.

New arrivals available now on aarticles.co

A first image need not have the last word. Collection 02 brings familiar pieces into the company of metal by Yeodong Yun, ceramic vessels by Shane Gabier and Sharlen Nozawa, and glass vases by Verre d’Onge. Earlier works appear again beside these additions, placing continuity at the centre of the collection.

At aarticles, each collection extends a philosophy of living with objects over time. Found objects, sculptural works and pieces by contemporary makers enter a growing catalogue, where earlier objects are seen again under another light through later scenes and new arrangements.

New arrivals available now on aarticles.co

A first image need not have the last word. Collection 02 brings familiar pieces into the company of metal by Yeodong Yun, ceramic vessels by Shane Gabier and Sharlen Nozawa, and glass vases by Verre d’Onge. Earlier works appear again beside these additions, placing continuity at the centre of the collection.

At aarticles, each collection extends a philosophy of living with objects over time. Found objects, sculptural works and pieces by contemporary makers enter a growing catalogue, where earlier objects are seen again under another light through later scenes and new arrangements.

New arrivals available now on aarticles.co

New pieces by @studio_yeodongyun coming in the new collection with series that explores the texture of metal in various ways. Her silver-plated metal objects feel both sculptural and delicate, revealing the strength of the material in every detail.

Launching next Tuesday.

New pieces by @studio_yeodongyun coming in the new collection with series that explores the texture of metal in various ways. Her silver-plated metal objects feel both sculptural and delicate, revealing the strength of the material in every detail.

Launching next Tuesday.

aarticles.co, between collections. The store reopens later this week with new pieces.

aarticles.co, between collections. The store reopens later this week with new pieces.

Collection 02
New and current objects and artists, in dialogue with found pieces.

Wooden spoons, a butter knife and small objects hand-carved in walnut by @fredaart.

Fred, one half of @aarticlesarchive, works across art direction and curation. As Head of Creative at Frama his practice is shaped by atmosphere and material presence.

His relationship to wood began early, spending time in his great-grandfather’s factory, surrounded by tools, timber and work in progress.

Wooden spoons, a butter knife and small objects hand-carved in walnut by @fredaart.

Fred, one half of @aarticlesarchive, works across art direction and curation. As Head of Creative at Frama his practice is shaped by atmosphere and material presence.

His relationship to wood began early, spending time in his great-grandfather’s factory, surrounded by tools, timber and work in progress.

Wooden spoons, a butter knife and small objects hand-carved in walnut by @fredaart.

Fred, one half of @aarticlesarchive, works across art direction and curation. As Head of Creative at Frama his practice is shaped by atmosphere and material presence.

His relationship to wood began early, spending time in his great-grandfather’s factory, surrounded by tools, timber and work in progress.

Yeodong Yun @studio_yeodongyun works with metal across its full spectrum, shaped, brushed, coloured, and reconfigured into objects that move between sculpture and function.

For our first collection, we featured Ball Series, a study in balance, weight, and tension. Soon followed by a new series of functional objects.

Yeodong Yun @studio_yeodongyun works with metal across its full spectrum, shaped, brushed, coloured, and reconfigured into objects that move between sculpture and function.

For our first collection, we featured Ball Series, a study in balance, weight, and tension. Soon followed by a new series of functional objects.

Last pieces from Collection 01.
Plate 4 by Yeodong Yun. An oval form with a quiet detail, a small spherical element resting at the edge.

Adding to our library archive of books, images, places and all sorts of references: a house we had the chance to visit and stay in last year in Brazil.

Casa Gerber by Paulo Mendes da Rocha, Angra dos Reis, Brazil, 1974. Photographed by Fred Aartun (@fredaart)

Set on a rocky peninsula along the coast, the house sits quietly between the trees and the sea, secluded from the neighboring houses. Built directly into the rock, it feels deeply connected to the landscape and the water surrounding it. The lines between inside and outside blur, and from almost every window the movement of the sea is visible.

Inside, an extra-long kitchen table stretches across the space, made for cooking, serving and gathering. And many objects, curiosities and artworks. Perhaps fewer than when the family lived there, but enough to leave traces of the life the house once had.

Adding to our library archive of books, images, places and all sorts of references: a house we had the chance to visit and stay in last year in Brazil.

Casa Gerber by Paulo Mendes da Rocha, Angra dos Reis, Brazil, 1974. Photographed by Fred Aartun (@fredaart)

Set on a rocky peninsula along the coast, the house sits quietly between the trees and the sea, secluded from the neighboring houses. Built directly into the rock, it feels deeply connected to the landscape and the water surrounding it. The lines between inside and outside blur, and from almost every window the movement of the sea is visible.

Inside, an extra-long kitchen table stretches across the space, made for cooking, serving and gathering. And many objects, curiosities and artworks. Perhaps fewer than when the family lived there, but enough to leave traces of the life the house once had.

Adding to our library archive of books, images, places and all sorts of references: a house we had the chance to visit and stay in last year in Brazil.

Casa Gerber by Paulo Mendes da Rocha, Angra dos Reis, Brazil, 1974. Photographed by Fred Aartun (@fredaart)

Set on a rocky peninsula along the coast, the house sits quietly between the trees and the sea, secluded from the neighboring houses. Built directly into the rock, it feels deeply connected to the landscape and the water surrounding it. The lines between inside and outside blur, and from almost every window the movement of the sea is visible.

Inside, an extra-long kitchen table stretches across the space, made for cooking, serving and gathering. And many objects, curiosities and artworks. Perhaps fewer than when the family lived there, but enough to leave traces of the life the house once had.

Adding to our library archive of books, images, places and all sorts of references: a house we had the chance to visit and stay in last year in Brazil.

Casa Gerber by Paulo Mendes da Rocha, Angra dos Reis, Brazil, 1974. Photographed by Fred Aartun (@fredaart)

Set on a rocky peninsula along the coast, the house sits quietly between the trees and the sea, secluded from the neighboring houses. Built directly into the rock, it feels deeply connected to the landscape and the water surrounding it. The lines between inside and outside blur, and from almost every window the movement of the sea is visible.

Inside, an extra-long kitchen table stretches across the space, made for cooking, serving and gathering. And many objects, curiosities and artworks. Perhaps fewer than when the family lived there, but enough to leave traces of the life the house once had.

Adding to our library archive of books, images, places and all sorts of references: a house we had the chance to visit and stay in last year in Brazil.

Casa Gerber by Paulo Mendes da Rocha, Angra dos Reis, Brazil, 1974. Photographed by Fred Aartun (@fredaart)

Set on a rocky peninsula along the coast, the house sits quietly between the trees and the sea, secluded from the neighboring houses. Built directly into the rock, it feels deeply connected to the landscape and the water surrounding it. The lines between inside and outside blur, and from almost every window the movement of the sea is visible.

Inside, an extra-long kitchen table stretches across the space, made for cooking, serving and gathering. And many objects, curiosities and artworks. Perhaps fewer than when the family lived there, but enough to leave traces of the life the house once had.

Adding to our library archive of books, images, places and all sorts of references: a house we had the chance to visit and stay in last year in Brazil.

Casa Gerber by Paulo Mendes da Rocha, Angra dos Reis, Brazil, 1974. Photographed by Fred Aartun (@fredaart)

Set on a rocky peninsula along the coast, the house sits quietly between the trees and the sea, secluded from the neighboring houses. Built directly into the rock, it feels deeply connected to the landscape and the water surrounding it. The lines between inside and outside blur, and from almost every window the movement of the sea is visible.

Inside, an extra-long kitchen table stretches across the space, made for cooking, serving and gathering. And many objects, curiosities and artworks. Perhaps fewer than when the family lived there, but enough to leave traces of the life the house once had.

Adding to our library archive of books, images, places and all sorts of references: a house we had the chance to visit and stay in last year in Brazil.

Casa Gerber by Paulo Mendes da Rocha, Angra dos Reis, Brazil, 1974. Photographed by Fred Aartun (@fredaart)

Set on a rocky peninsula along the coast, the house sits quietly between the trees and the sea, secluded from the neighboring houses. Built directly into the rock, it feels deeply connected to the landscape and the water surrounding it. The lines between inside and outside blur, and from almost every window the movement of the sea is visible.

Inside, an extra-long kitchen table stretches across the space, made for cooking, serving and gathering. And many objects, curiosities and artworks. Perhaps fewer than when the family lived there, but enough to leave traces of the life the house once had.

Adding to our library archive of books, images, places and all sorts of references: a house we had the chance to visit and stay in last year in Brazil.

Casa Gerber by Paulo Mendes da Rocha, Angra dos Reis, Brazil, 1974. Photographed by Fred Aartun (@fredaart)

Set on a rocky peninsula along the coast, the house sits quietly between the trees and the sea, secluded from the neighboring houses. Built directly into the rock, it feels deeply connected to the landscape and the water surrounding it. The lines between inside and outside blur, and from almost every window the movement of the sea is visible.

Inside, an extra-long kitchen table stretches across the space, made for cooking, serving and gathering. And many objects, curiosities and artworks. Perhaps fewer than when the family lived there, but enough to leave traces of the life the house once had.

A selection of objects available this week in Paris at MATTER and SHAPE (shop).

Comb by Christian+Jade
Formed in silver-plated metal, the Comb is shaped for the hand. Its polished surface balances precision and tactility, existing between everyday use and the stillness of an artefact.

Table Lamp 01 by J. Hannah @j.hannah
Polished aluminium and ribbed glass come together in a precise, architectural form. The light is soft, while the surface reflects its surroundings.

Table Lamp 01 by J. Hannah @j.hannah
Polished aluminium and ribbed glass come together in a precise, architectural form. The light is soft, while the surface reflects its surroundings.

Table Lamp 01 by J. Hannah @j.hannah
Polished aluminium and ribbed glass come together in a precise, architectural form. The light is soft, while the surface reflects its surroundings.

One of our favourite books that we often return to: The Journey of Things by Magdalene Odundo.

It’s less a catalogue and more a reflection on how objects travel and gather meaning over time. Her work is placed in dialogue with different cultures, histories and references, showing how making is always part of a larger conversation.

What we also keep coming back to is the quiet poetry of Odundo’s vessels. Their forms echo the human body, exploring balance, movement, and presence.

One of our favourite books that we often return to: The Journey of Things by Magdalene Odundo.

It’s less a catalogue and more a reflection on how objects travel and gather meaning over time. Her work is placed in dialogue with different cultures, histories and references, showing how making is always part of a larger conversation.

What we also keep coming back to is the quiet poetry of Odundo’s vessels. Their forms echo the human body, exploring balance, movement, and presence.

One of our favourite books that we often return to: The Journey of Things by Magdalene Odundo.

It’s less a catalogue and more a reflection on how objects travel and gather meaning over time. Her work is placed in dialogue with different cultures, histories and references, showing how making is always part of a larger conversation.

What we also keep coming back to is the quiet poetry of Odundo’s vessels. Their forms echo the human body, exploring balance, movement, and presence.

One of our favourite books that we often return to: The Journey of Things by Magdalene Odundo.

It’s less a catalogue and more a reflection on how objects travel and gather meaning over time. Her work is placed in dialogue with different cultures, histories and references, showing how making is always part of a larger conversation.

What we also keep coming back to is the quiet poetry of Odundo’s vessels. Their forms echo the human body, exploring balance, movement, and presence.

One of our favourite books that we often return to: The Journey of Things by Magdalene Odundo.

It’s less a catalogue and more a reflection on how objects travel and gather meaning over time. Her work is placed in dialogue with different cultures, histories and references, showing how making is always part of a larger conversation.

What we also keep coming back to is the quiet poetry of Odundo’s vessels. Their forms echo the human body, exploring balance, movement, and presence.

One of our favourite books that we often return to: The Journey of Things by Magdalene Odundo.

It’s less a catalogue and more a reflection on how objects travel and gather meaning over time. Her work is placed in dialogue with different cultures, histories and references, showing how making is always part of a larger conversation.

What we also keep coming back to is the quiet poetry of Odundo’s vessels. Their forms echo the human body, exploring balance, movement, and presence.

One of our favourite books that we often return to: The Journey of Things by Magdalene Odundo.

It’s less a catalogue and more a reflection on how objects travel and gather meaning over time. Her work is placed in dialogue with different cultures, histories and references, showing how making is always part of a larger conversation.

What we also keep coming back to is the quiet poetry of Odundo’s vessels. Their forms echo the human body, exploring balance, movement, and presence.

One of our favourite books that we often return to: The Journey of Things by Magdalene Odundo.

It’s less a catalogue and more a reflection on how objects travel and gather meaning over time. Her work is placed in dialogue with different cultures, histories and references, showing how making is always part of a larger conversation.

What we also keep coming back to is the quiet poetry of Odundo’s vessels. Their forms echo the human body, exploring balance, movement, and presence.

One of our favourite books that we often return to: The Journey of Things by Magdalene Odundo.

It’s less a catalogue and more a reflection on how objects travel and gather meaning over time. Her work is placed in dialogue with different cultures, histories and references, showing how making is always part of a larger conversation.

What we also keep coming back to is the quiet poetry of Odundo’s vessels. Their forms echo the human body, exploring balance, movement, and presence.

One of our favourite books that we often return to: The Journey of Things by Magdalene Odundo.

It’s less a catalogue and more a reflection on how objects travel and gather meaning over time. Her work is placed in dialogue with different cultures, histories and references, showing how making is always part of a larger conversation.

What we also keep coming back to is the quiet poetry of Odundo’s vessels. Their forms echo the human body, exploring balance, movement, and presence.

aarticles approaches the home and studio as places of making and living. Objects are shaped through use, material, and time, moving between hands and settings, carrying presence beyond their function.