For Rasmus Fanhann, noble craftsmanship and optic patterns characterize his Naguri bench (2023). Inspired by the Japanese technique of the same name, the bench changes appearance according to the surrounding light, thanks to its hexagon relief. To a large degree, Fenhann’s work represents the aristocratic quality of delicate handmade cabinetmaking expressed by the Japanese term Sashimono (指物).
His work is guided by the same principles of simplicity, repetition and respect for wood as a living material. His painstakingly precise treatment of wood surfaces, ending up in a velvet-like, soft finish and with invisible joints, is the result of an extraordinary effort, which is both mental and physical. Fenhann even takes the importance of tradition through to the materials he works with.
The solid mahogany wood of the Naguri benchwas salvaged from the workshop of the great Italian master wood craftsman, Pierluigi Ghianda (1926-2015) of Milan. Fenhann's choice of working with salvaged wood is not only for its historical importance, but equally in support of his ecological values, as he constantly upcycles wood from diverse locations, respectfully allowing a rare and precious material, which has taken hundreds of years to grow, to carry new forms, functions and emotions.
“Naguri” refers to a Japanese woodcut technique in which large cuts are made using an axe on a wood surface. By applying the geometric principles behind this technique, Fenhann has created a pattern that is both tactile and reflective.
Naguri bench was featured by Galerie Maria Wettergren @TEFAF art fair in Maastricht 11-19 March 2023
Otto Busses Vej 31, Bygn. OBV100 2450 Copenhagen Denmark