Correspondances takes its title from Baudelaire's poem of the same name — a meditation on the hidden kinship between nature, objects, and imagination. Wood, metal, resin, and ceramic are brought into quiet correspondence, each retaining something of the others. Familiar forms appear here, subtly altered. A surface might carry the memory of bark, or water, or stone, transposed across material, without ever naming it outright. Material and form echo one another quietly. Nothing here insists on being understood — only noticed. What remains, beneath the surface of each piece, is a dialogue between what things are and what they carry. 

Hannah Kuhlmann
From her studio in Cologne, Hannah Kuhlmann engages in a decade-long study of sheet metal, reinterpreting a rigid, industrial language through an almost textile methodology. By cutting, folding, and welding by hand, Kuhlmann manipulates metal much like a couturier shapes cloth, coaxing cold sheet metal into fluid, space-framing volumes.
Rejecting passive functionality, she conceives her pieces as autonomous companions objects endowed with a distinct atmospheric weight and presence. Her works operate as structural meditations on domestic solitude, bridging raw metallurgy and intimate interior architecture.

Marten Herma Anderson
Berlin-based designer and sculptor Marten Herma Anderson translates a rigorous architectural foundation into a highly personal practice of object design. Working at the intersection of hand-cast ceramics and translucent resins, Anderson brings structural clarity to emotionally charged forms. His practice leans deeply into material nostalgia, drawing inspiration from the stark coastal landscapes of his native Rügen alongside memories of structural geometry. For the exhibition, Anderson presents a series of works that function as "intimate architectures"—capturing light, spatial memory, and the silent connections between an object and its surrounding environment.

Santeri Mortti
Operating in Helsinki, Santeri Mortti explores the quiet dialogue between human intention and living timber. Working across scales—from intimate tactile pieces to architectural forms—Mortti’s methodology is deliberately slow, grounded in the reductive discipline of traditional hand tools. Bypassing industrial processes, he allows the grain, internal tension, and natural character of the wood to dictate each final geometry. For Correspondances, Mortti presents a collection of hand carved works that capture the precise moment where raw forestry transforms into poetic spatial intervention.

Installation photos: Daniel Feistenauer