Christian+Jade

Christian Hammer Juhl and Jade Chan began working together at Design Academy Eindhoven, establishing a Copenhagen-based practice that moves between furniture, objects, and installation. From the outset, they have shared a sentimentality for the hidden lives of things: how material carries history, how objects hold stories of ritual, intimacy, and time.

Their process is slow and deliberate. Each work is conceived with intention, balancing traditional and contemporary techniques while keeping the trace of making visible. Wood retains its heft, metal carries the strike of hammering, reflective surfaces scatter light into shadow. The results hold clarity through restraint, allowing matter to remain legible.

Exhibitions with Studio Oliver Gustav, Jacqueline Sullivan Gallery, and Etage Projects have situated their work internationally, alongside appearances at Collectible, Nomad Circle, The Mindcraft Project, Schloss Hollenegg for Design, Chart Art Fair, and Maison&Objet Rising Talent. Their references are carried close; Leonard Koren’s Undesigning the Bath informed their thinking around ritual and intimacy. Juzo Itami’s Tampopo shaped their belief in the joy of repetition and doing one thing well. Jens Olsen’s astronomical World Clock in Copenhagen remains, for Christian, a lasting lesson in devotion and persistence.

For aarticles, they contribute two bodies of work. Woodenware is carved in oxidised oak: trays, a pedestal, and candleholders shaped with bold planes, the darkened grain finished with beeswax to reveal subtle sheen. The series was first developed for a table setting around Karen Blixen’s Babette’s Feast, where simplicity and abundance were held in tension. The Vanity set pairs a silver-plated comb and mirror scaled for the hand, carried in a pocket, used close to the body. These modest forms sit between utility and ritual, designed to register touch over time.