A conversation with Asa Henzel

Rugs traditionally offer a degree of comfort and warmth to a room. How has Henzel expanded on the classic concept of a rug?

We continuously push the possibilities of rugs as pertains to their function, aesthetic role and artistic traits and values, especially through artist collaboration. The program constantly prompts us to delve into new opportunities and challenge ourselves creatively. The discussion and ambiguity surrounding whether our rugs should be hung on a wall or laid on the floor is testament to our approach.

In which ways does Henzel Studio embrace or reject Swedish design principles? 

We don’t start our creative process with design principles in mind. Rather, Henzel Studio was established as an extension of Calle Henzel’s artistic experimentation with textiles as an alternative media. With that equation in mind, our values and inspirations are much more founded in art. We are, however, very informed by the rich history of textiles and weaving that originates from western Sweden, where we are based.  

Henzel Studio Collaborations has worked with notable artists such as Richard Prince and Nan Goldin and estates that include The Andy Warhol Foundation. What sparked Calle’s desire to collaborate and what does he look for in a collaborator?

We have always wanted to collaborate with external creative forces. In 2012, curator Joakim Andreasson approached us to establish such a program with an emphasis on contemporary artists. We have since collaborated on rugs with artists that also include Anselm Reyle, Mickalene Thomas, Wilhelm Sasnal, Marilyn Minter, Linder and Carsten Höller among several others. Our general criteria for selecting collaborators are stature, independent voice and an openness to cross-disciplinary practice. Unconsciously and consciously, each artist ends up synergizing with the next. The result is a curation that, when combined, offers a diverse, aesthetically broad and authentic grouping that has taken shape organically over the past ten years. We will soon be releasing rugs by Kim Gordon. Vanessa Beecroft, Jake & Dinos Chapman, Tim Noble & Sue Webster and Katerina Jebb, among others.

How does the A/C.H. studio support the development of emerging artists?

With A/C.H. we are very adamant about working with emerging artists. We provide a channel for their work to be viewed and acquired through an alternate media, and an audience that they would otherwise not necessarily reach.

Can you tell us about a particularly challenging project undertaken by the Henzel A&D group?

We do consider challenges as a positive, as it allows us to develop techniques that can only really be acquired through trial, error and perseverance. The examples are countless, but one recent project is a massive rug we developed with assume vivid astro focus for a commission in China via Kooku Gallery in Basel. It is a variation of avaf’s initial rug we collaborated on back in 2013. That was already a very complex piece to develop due to the multi-geometric composition. This time round, the rug was significantly larger and adapted for wall-space. However, we couldn’t be more pleased with the outcome. The rug is a masterpiece and testament to art and design informing one another.

Henzel art rugs have a special way of holding one’s gaze, yet they normally occupy floor space rather than being visible at eye level like many other artforms. How does this affect the subject’s state of mind?

A viewer’s natural gaze is naturally trained to anchor on elements other than rugs, but I think visually engaging with materials that are comforting to the eye can certainly soften a person’s mental state . Likewise, objects with undefined traits and functions, which don’t possess a specific call to action such as “sit”, “work” or “organize”, encourage a sense of tranquility.

The Marilyn Maquette virtual exhibition is an innovative way of granting access to art during the ensuing pandemic, demonstrating the growing importance of technology as a solution to physical restrictions. Do you see longer term applications of VR, or changes to the way people view art in general?

Yes, and I think there are the obvious positives such as reach and visual control. However, I do think it will lead to the art world speeding up even more than anyone has ever anticipated. It seemed like galleries had reached a saturation point with art fairs, but once the pandemic passes, they will also need to create shows to meet the demand for online cycles, which are even speedier. From our end, we are working with a media that has not changed much over the past few centuries. Thankfully, that means we must adhere to the need for time and patience. There are no shortcuts when creating a handmade rug.