ARK KOLLEKT AT DESIGN / DIALOGUE

A QUIET COLLECTION

ARK KOLLEKT AT DESIGN / DIALOGUE

A QUIET COLLECTION

ARK KOLLEKT AT DESIGN / DIALOGUE

Pernille Vest, curator, interior stylist and dear friend of the house, continues to return to organic forms. Presenting a selection of works at the third edition of DESIGN / DIALOGUE at 3daysofdesign, Pernille brings together different artists united not by a shared expression but by a shared sensibility. Forms that speak softly, marking a presence that cannot be replicated. An appreciation for restraint, and raw materiality.

Following the launch of Collection #21, Ark Kollekt speaks to Pernille about what has informed her latest curation, the qualities she seeks out in works, and the vitality of tangible, human craft.

PHOTOGRAPHY | ZUZANNA MAJEK

For the more architectural works, namely Raffaella Mangiarotti’s stainless steel mobile, Yuragi, what is the thread that links back to the softer forms?

Most of the works have no prescribed function. They are simply objects—created to be lived with rather than used. Their value lies in presence, in the way they occupy space, catch the changing light. They invite curiosity and interaction.

The sharper lines create moments of contrast; they introduce another rhythm, allowing softness and structure to exist in dialogue.

This selection is sculpture-heavy, reminiscent of earlier collections for Ark Kollekt. What drew you back to the ceramic medium?

This collection brings together ceramic works by different artists, united not by a common expression, but by a shared sensibility. Each brings a distinct voice, yet together the works form a quiet conversation about craftsmanship and tactility. They remind us that beauty often resides in what asks for nothing.

Is there a visual narrative that led the curatorial process for this project?

Muted tones, drawn from the landscape—chalk, clay, limestone, sand and earth. Colours that neither dominate nor disappear, but become part of the atmosphere they inhabit.

The forms are predominantly rounded and organic. Soft silhouettes that recall stones shaped by water, seeds, ancient vessels and, at times, are evocative of the body. There are echoes of the feminine - qualities of balance and strength.

The dialogue between hand and matter is palpable in this selection, something that’s so recognisable in your visual universe. How would you characterise this emphasis on tactility and craft?

There is something deeply human about objects shaped by hand. They carry traces of time and process, the subtle imprint of the maker. A rhythm.

It’s an enduring sense of appreciation for the handmade—for objects that possess the rare ability to make a space feel more grounded, more tactile, and more alive.

This selection is sculpture-heavy, reminiscent of earlier collections for Ark Kollekt. What drew you back to the ceramic medium?

This collection brings together ceramic works by different artists, united not by a common expression, but by a shared sensibility. Each brings a distinct voice, yet together the works form a quiet conversation about craftsmanship and tactility. They remind us that beauty often resides in what asks for nothing.

Is there a visual narrative that led the curatorial process for this project?

Muted tones, drawn from the landscape—chalk, clay, limestone, sand and earth. Colours that neither dominate nor disappear, but become part of the atmosphere they inhabit.

The forms are predominantly rounded and organic. Soft silhouettes that recall stones shaped by water, seeds, ancient vessels and, at times, are evocative of the body. There are echoes of the feminine - qualities of balance and strength.

For the more architectural works, namely Raffaella Mangiarotti’s stainless steel mobile, Yuragi, what is the thread that links back to the softer forms?

Most of the works have no prescribed function. They are simply objects—created to be lived with rather than used. Their value lies in presence, in the way they occupy space, catch the changing light. They invite curiosity and interaction.

The sharper lines create moments of contrast; they introduce another rhythm, allowing softness and structure to exist in dialogue.

The dialogue between hand and matter is palpable in this selection, something that’s so recognisable in your visual universe. How would you characterise this emphasis on tactility and craft?

There is something deeply human about objects shaped by hand. They carry traces of time and process, the subtle imprint of the maker. A rhythm.

It’s an enduring sense of appreciation for the handmade—for objects that possess the rare ability to make a space feel more grounded, more tactile, and more alive.

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