CASSETTA X BORCH EDITIONS

ABOUT CASSETTA

Cassetta is founded on the belief that a frame should carry purpose—guided by contemporary design principles and rooted in the cultural and artistic heritage of framing. Each frame carries an architectural sensibility—built through contour, material and approach.

For this collaboration with BORCH Editions, Cassetta presents frame designs by Mentze Ottenstein, Anne Dorthe Vester, and bahraini—danish. All trained architects, their practices extend across furniture, interiors, and spatial design. Their frames reflect a shared commitment to precision, presence, and material depth. Their work draws lines between past and present—not in contrast, but in continuation.

Together, these Cassetta frames offer a way of seeing that feels grounded and generous. They stand with the work—thoughtfully and deliberately—supporting a dialogue between art and the atmosphere around it.

The etching Morgon conveys an idyllic scene of a meandering river in the landscape with butterflies taking flight in the golden light of dawn. The image is an open invitation to become immersed in nature as the scenery dissolves into the horizon. Tactile qualities of the landscape are evoked with the combined use of finely etched lines, burrs of the drypoint technique, together with the painterly brushstrokes of spit bite and sugar lift aquatints.

Mentze Ottenstein works with a distinct sense of proportion. Glowing pear and smooth walnut define a material principle that blends rich grain textures and deep tones with crisp profiles. The frames reflect a sensibility attuned to elegance and contemporary clarity.

The flickering imagery in Nanna Debois Buhl’s prints depicts matter that is normally too microscopic to grasp, and too foundational to comprehend.

Visualisations of dust grains from meteorites form the basis of the series A Cosmic Roar. These dust grains contain particles that are more than 4.5 billion years old – older than our solar system. The wealth of detail invisible to the eye on the dust grain’s surface is given a new digital entity when read by the microscope and translated by computer software. In the resulting computer-generated 3D model, the meteoritic dust samples appear as black-and-white digital landscapes of stirred waters, peaks and valleys. By turning the meteoritic images into photogravures, Nanna Debois Buhl utilizes the inherent tactility of the medium to highlight the tactility of the microscopic particles.

bahraini—danish brings together two traditions, cultural references and material experimentation. Presenting a framing language that is architectural in structure, yet soft in atmosphere, offering a sense of poetic order around the artwork.

Andreas Eriksson lives in the Swedish countryside in an area characterised by wild and diverse landscapes. He has a genuine affinity to the nature in which he lives, and his works arise from this intimate connection – nature forms the conditions and provides the material for Eriksson’s work.

Anne Dorthe Vester explores a structure where lightness holds presence. Suspended delicately by wires, her frames introduces a moment of tension and material clarity. There’s a quiet interplay of weight and proportion, and a tactile warmth from the Oregon Pine.

For his woodcut Eng (Meadow), Tal R was concerned with the contrast between light and dark, between foreground and background. In woodcut printmaking, a particularly rich and dense ink is used to cover the printing block; Tal R uses it to create the impression of an impenetrable darkness against which the flowers shine all the more radiantly.
Not all flowers close at night; we see flowers in daylight, but at night a flower meadow is at its most magical. – Tal R
The round, stylised blossoms and thick stems are reminiscent of human figures, they bend and turn as if interacting with each other.

bahraini—danish brings together two traditions, cultural references and material experimentation. Presenting a framing language that is architectural in structure, yet soft in atmosphere, offering a sense of poetic order around the artwork.

For the portfolio Flora Danica, a collaboration between BORCH Editions and the Natural History Museum of Denmark, nine Danish artists created contemporary prints working with historic copper plates. Flora Danica (1761–1884), a comprehensive encyclopedic Enlightenment project, was a collaboration between scientists and engravers over a period of 123 years. The original copper plates, still in the possession of the Natural History Museum, formed the starting point and base material for the contemporary Danish artists who each created a print using the original plates or being inspired by them.

Mentze Ottenstein works with a distinct sense of proportion. Glowing pear and smooth walnut define a material principle that blends rich grain textures and deep tones with crisp profiles. The frames reflect a sensibility attuned to elegance and contemporary clarity.

Drawn from film stills, each of Saunders‘ landscapes is at once an universal scene open to projection and an emblem of the emotive and narrative currents swirling off camera. Together, the series references the filmmakers that have had a profound impact on Saunders’ practice and demonstrate how cinema can evoke a longing for the unknown and mysterious. Saunders leaves the landscapes devoid of people, emphasizing the profound role of scenery and setting. A dialectic play between light and darkness, known and unknown, reality and imagination, distance and closeness, arise within the series.

Mentze Ottenstein works with a distinct sense of proportion. Glowing pear and smooth walnut define a material principle that blends rich grain textures and deep tones with crisp profiles. The frames reflect a sensibility attuned to elegance and contemporary clarity.