Category Archives: Projects and Collaborations

  • Painting Leather

    Painting Leather is a research based project with its origin in the 18th century fake leather practice often to be found in antique furniture from this decade.

    Going fake is often a shortcut or a detour to achieve something seemingly unobtainable. The fake leather material produced three hundred years ago was made to avoid the high cost of animal leather. This approach could also be applied on today’s leather industry, but from a different perspective. The valuable shortcut made by skipping the animal is in the center of this project. Apart from the benefits of being fake the Painting Leather material also evokes another shift of value. The way the material is obtained is very similar to how a traditional oil painting is prepared, handled and made. The fake leather is never a painting though, even if it comes across as one in several stages of development, and could for a conservative eye be seen as seriously devalued when cut a into parts and used as a material.

    The objects within the Painting Leather project have been designed in conversation with the work of 1700s and 1800s oil painters Sophie Adelsparre, Ulrica Fredrica Pasch, Maria Röhl and Amalia Lindegren. The objects are: The Screen, The Container, The Glass Roof, The Padding, The Wall Padding, The Non Smiles and The One Smile.




    Nordberg’s fascination for the ultra-standardised is materialised in the BRICK series. Casted glass bricks with the exact measurements of old traditional bricks are composed into sculptural candle holders.
    Besides the traditional dimensions of the bricks nothing else is standard – the BRICK series is hand casted in a small Italian glass foundry and patiently assembled in Sweden.

    The Bricks series is designed for Swedish Ninja.


  • OPEN

    The Open series for Minus Tio consists of three sculptural objects for storage.

    When developing the Open series designer Jenny Nordberg looked for manufacturers who where willing to work with preexisting tools instead of making new ones for these particular objects. This approach was a deliberate strategy to contribute to a more open-source-like mindset within manufacturing where tools usually are locked to one client only. Working with preexisting tools also means that external and predetermined factors become part of the design process and final expression, something Nordberg appreciates.

    Open comes in four different colours — ocher yellow, matte black, oyster white and rust. Buy here.


  • Things my daughter said…

    Things my daughter said about objects, interiors, ornament and crime

    I was asked by Jr-Work-Shop to do something related to kids. Not having ever worked with, by or for children I asked my daughter for some advice, she then became my muse. Her thoughts about furniture, objects and interiors are both grand and unrestricted. The ideas she has are also constantly changing, often inconsistent and based on seemingly random impulses. This project has been guided by our conversations. It is a tribute to the creative and un-ruined mind of this young person. The objects created are not necessarily children’s furniture but furniture from a child’s mental world.

    During this project me and my daughter have had several talks about objects, design and interiors. After a while she directed our discussions into also including ornament and crime. Below is a transcription of one of her expositions:

    What should furniture be and look like?
    “It should be square, like dark blue and pink stripes, and in the middle there will be a green heart for all three, because we are three. Well yes, it’s for all three: daddy, you and me. Triangular, so there’s only places for us – that’s good, no? And then you can fix it into a four-table. Then the chair… pink and white. And on it there will be umm… a green, I mean a blue glitter… purple glitter… like heart. It will also be a little fluffy, with a pillow on it.
    And a strange chair which is high – right up to the table – plus it could be a little higher, so that daddy, you, then it will look like, how will it look again? I mean the table which is triangular. What does triangles look like? Oh yes, like that… Then daddy will sit there and I will sit there… or you can sit where you want.
    It, that is for all three. Then probably daddy’s… yours must hold the wight of your bum. Mm, so you can borrow one of mine. And mummy, your stool can be green with black glitter on it that sparkles, that it is made of wood. And me and mummy will paint it. I will have a chair. Umm… white, white and purple, with a purple heart that sparkles green.”

    Listen to the monoluge here:

    Other comments of importance

    About the glitter ornaments she put on every door handle and knob in our apartment:
    “Look how nice it is! Before, not so nice, boring. Now, beautiful!”

    About the drawing of her hand she gave me:
    “It’s made from my hand. You can have my hand.“

    About the drawing on a post-it note she put on the freezer about interior related crimes:
    “You’re not allowed to play ball in here.“

    Represented at Jr-Work-Shop during Stockholm Design Week 2017:

    Stools in two different heights
    Metallic coated steel and uncoated aluminum

    A transformable table for three or four
    Metallic coated steel

    My daughters hands
    Painted MDF

    A prohibition sign
    Painted MDF

    Plant based plastic


    • “It’s made from my hand. You can have my hand.“
    • "You are not allowed to play ball in here"
  • Brus


    Jenny Nordberg received Form Award’s “Newcomer of the Year” for this project during Stockholm Furniture Fair 2017.
    “Jenny Nordberg is one of Swedish craft’s foremost talents and thus anything but a newcomer. With the project Brus for Källemo, she has taken her artistic credo into a new industrial context. Brus is a beautiful contradiction, an object that is both unique and mass-produced.”

    Brus (noise) is a project where Jenny Nordberg has brought uniqueness into an industrial context. By deliberately disturbing the casting process an irregular surface is reached where no result is the same.

    Nordberg seeks and explores new ways of relating to production. During one of her practical experiments in the studio, she discovered a way to obtain a strongly articulated surface of casted metal. A test with clay moulds resulted in this surface when water from the clay rose up through the metal. This method with wet molds were then transferred to the foundry which then has further developed the method into a new way of casting.

    Brus follows the projects 3 to 5 Seconds and 3 to 5 Minutes where Jenny Nordberg brought characteristics of industrial mass production into a craft context. Now she examines a reversed perspective — it is possible to obtain unique items as a result of industrial production, an attribute which is often connected with the craft?

    Brus är ett projekt där Jenny Nordberg har arbetat med att föra in unicitet i en industriell kontext. Genom att medvetet störa gjutprocessen har en oregelbunden yta uppnåtts där inget resultat är det andra likt.

    Nordberg söker och utforskar nya sätt att förhålla sig till produktion. Under ett av sina praktiska experiment i studion upptäckte hon ett sätt att få fram en kraftigt artikulerad yta hos gjuten metall. Ett test med lerformar gav denna yta när vattnet från leran steg upp genom metallen. Metoden att använda sig av blöta gjutformar överfördes sedan till gjuteriet som sedan har vidareutvecklat ett nytt sätt att gjuta.

    Brus tar vid efter projekten 3 to 5 Seconds och 3 to 5 Minutes där Jenny Nordberg jobbat med att lyfta in egenskaper från industriell massproduktion i en hantverkskontext. Nu undersöker hon ett omvänt perspektiv — går det att få fram unika objekt som resultat av industriell produktion, något som ofta kopplas ihop med hantverk?

    • Colour palette from Källemo workshop floor.
  • Macro Composite

    Is it possible to obtain unique results within industrial production? Jenny Nordberg has examined the issue in the Swedish foundry industry for the past year by working with three founders parallel. The result sought for has been a large scale macro-composite made of several assembled cast metals. During the process, there has been an interesting turn of events – each of the three foundries have had different theories, all of which contradict each other. The project is ongoing and has more to come.


    • Composite table
  • Studio Adapted Industrial Processes

    Studio Adapted Industrial Processes – Tin Casting

    Jenny Nordberg created the Tin Plinth with the cubical geometry of the classical gallery plinth in mind. The material in the plinth however – tin, is maybe less classical. Often working with the tension between the hand made and the machine made Nordberg wanted to explore the production of a sheet material that could be used to create a plinth. To do this she used the limitations of a studio environment as her framework, and developed a method to make sheet metal by casting tin in large molds. The outcome is an uneven and rough, almost brutal expression. The Tin Plinth was made for The Plinth Project exhibited at Etage Projects 18/11-16-21/1-17.

    Also included in this collection is the Tin Table.

    These are the first objects within a coming series of several industrial processes adapted for studio production.

  • Default Plantage

    Often working with the limitations of standardisation Nordberg developed Default Plantage where looks and measurments are based on the conditions of the globalised production industry. Default Plantatage can be seen as a pre phase or perhaps even the end of an era as Nordbergs next project, The Vocabulary of the Un-standardised, takes place in a context where no standards or rules are present.

  • At Your Place Production

    No factories, no transportation, truly local, at your place.

    At Your Place Production is a performative production concept and service researching if production can be done at the consumers place (as in home, office, institution, gallery etcetera). By doing so, could long distance transportations and factories be avoided? Could this also work in favour of giving the consumer a deeper and longer relationship to objects?

    The following products are available for At Your Place Production service:

    – Thumbs on a row hook
    – 3 to 5 Seconds Candle holder
    – 3 to 5 Seconds Bookend
    – 3 to 5 Seconds Hooks from thumb
    – 3 to 5 Seconds Explosion poster
    – 3 to 5 Seconds Mirror with coloured back paint (Light Grey, Computer Beige or Lavender Blue)
    – Object on request – Do you have a special need for a specific type of object, please don’t hesitate to ask for custom made products.

    For booking and price estimation please email.

    • Thumbs on a row hook
    • 3 to 5 Seconds Candle holder
    • 3 to 5 Seconds Bookend
    • 3 to 5 Seconds Hooks from thumb
    • 3 to 5 Seconds Explosion poster
    • 3 to 5 Seconds Mirror with coloured back paint (Light Grey, Computer Beige or Lavender Blue)
    • 3 to 5 Seconds Mirror with coloured back paint (Light Grey, Computer Beige or Lavender Blue)
  • 3 to 5 Minutes

    – Rapid handmade furniture


    Is it possible to make unique handmade furniture really fast? Is speed the contradiction to skills? Can lack of time lead to new methods? Is there an aesthetics of the shortcut? Is speed bad?

    This project is a continuation of the recent “3 to 5 Seconds – Rapid handmade production” where Jenny Nordberg explored speed in her search for ways to combine different properties of the mass produced and the handmade. This work is like many other of Nordberg’s projects a part of a larger and ongoing work about how we produce and consume today, how we’ve done historically and how it might could be different onwards.

    If the first project was about examining speed in a handmade and craft oriented context, this second project is just as much about using speed as a method to achieve new expressions and procedures. The design, materials and details are all the result of the lack of time. For example – the coating does not cover the whole surface, details are few and imperfect, assembly screws are visible and the design is restrained.

    “3 to 5 minutes – Rapid handmade furniture” explores the making of furniture by hand under time pressure often to found in mass production. Each piece of furniture must be made within the timespan of tree to five minutes. All production steps are clocked and added together as the designer turns herself into an artisanal assembly line. Materials and components are to be found in regular hardware stores as well as the pre-cutting of the board material. The project includes two easy chairs with additional pillows, a small trolley and a dining table with four chairs, all together made in less than an hour.

    An easy chairs with additional pillow an the small trolley together with objects from 3 to 5 Seconds – Rapid handmade production project will be shown at the Stockholm Furniture & Light fair 3-8 February. The whole project including a production setting complemented by a shop will be exhibited in a solo exhibition at Vandalorum 28/2 – 6/4 2015.

    Thanks to Kvadrat textiles.

    • Stencils for drilling and cutting.
    • Making clay stamps for printing on fabric.
    • Clay moulds for handles.