SUBLIME STUDIO: crescendo of art and senses
PRODUCTION: Ademán
photography:
Emanuel Fantini
Walking is a beneficial activity for both the body and the soul. For Stephanie Strom, the creator of Sublime Studio, a leisurely stroll is not just that; it's an opportunity to connect with her unique vision as an individual and as an artist. As she describes it, her inspiration arises from a blend of elements: the flavors of food, the richness of colors, the subtlety of textures, and special moments, like light filtering through windows or illuminating floors and fields. Her creative process is intimately linked to her senses, and it is from this perspective that she breathes life into her artistic furniture.
As she roams the streets of Sweden, where she was born and spent her formative years, Stephanie's introspective journey takes her back to her family roots. Her parents, gifted with artistic talents, demonstrated that creativity ran in their blood.
Her childhood was marked by dualities: her love for acting, theater, and analog photography, skills in which she excelled, intertwined with her family's expectations—namely, the pursuit of a "conventional" job.
In Sweden, the educational system supported students' creativity and talents. This environment allowed her to flourish and excel academically. At the age of 18, with her education in Sweden completed, she made the audacious decision to move to the United Kingdom, initially planning to study psychology.
However, life often unfolds unexpectedly, and Stephanie's plans to study psychology took an unexpected turn during her journey from the United Kingdom to Australia. While she had initially planned to study psychology, her encounter with the prestigious RMIT University in Melbourne led her down a completely different path: that of interior architecture. This bold decision and her tireless dedication led her to graduate with honors, thus laying the foundation for her future career as a prominent furniture artist.
INTERVIEWER
STEPHANIE STRÖM
I find textures fascinating, particularly in the way they engage our sense of touch. I appreciate the juxtaposition of contrasting textures; it's like celebrating the harmony of opposites. For instance, if I come across a stunningly beautiful stone, I prefer to showcase its natural form. Take, for example, my Yin and Yang sculptures; they originate from the rugged cliffs of a quarry, preserving their rough, unaltered textures, adorned with various colors. This untouched rawness fascinates me.
On the other hand, I also admire the transformation of textures through craftsmanship. I'm drawn to the sophistication found in high-quality materials, such as natural stone. It's enchanting when a stone displays a beautiful vein of marble, possessing a smooth, soft, and elegant surface. It's like witnessing the delicate balance between refinement and rawness within the same piece, which is why I'm so passionate about exploring various textures.
Beyond this, I have a fondness for soft textures, like fabric, as long as they aren't overly glossy. Shiny finishes don't resonate with me. I'm more inclined towards matte or textured surfaces.
INTERVIEWER
STEPHANIE STRÖM
The kind of music that inspires me is usually more about sounds than traditional music, or you could say that sounds are like music to me. What I mean by that is one of the first times I really explored sounds was during a visit to Berlin for a music and arts festival at the iconic Kraftwerk. This must have been around 5 or 6 years ago, maybe even longer. Anyway, it was fascinating because the sounds there were incredibly immersive and unconventional. They used different kinds of instruments and objects, playing them experimentally without any set order. It was mesmerizing to realize that music didn't have to follow a conventional rhythm, so to speak. So, I'm really drawn to sounds.
Many Japanese artists have been a significant influence on me, and I would also mention techno, especially minimal techno. I began practicing Kundalini Yoga at the age of 15, and in Kundalini Yoga, there's a lot of emphasis on sound through mantras and such. So, I'd say that this kind of music is what inspires me. But then again, I just love listening to music in general. My taste is quite eclectic, ranging from house, deep house, and electronic music to piano, classical music, mantras, and even some really hard-hitting techno. It's a wide spectrum.
INTERVIEWER
STEPHANIE STRÖM
It's quite interesting because I believe all my senses are very much engaged. I think that's why I find it effortless to envision things, such as spaces that don't even exist. But I can imagine every detail, from the tactile sensation of walking into that space to the texture underfoot, the way light plays upon surfaces, and how things could be elevated. If I had to pick one, I'd probably say my eyes. I actually have excellent vision; it's so good that when I attempted to get reading glasses during my younger years, thinking they were fashionable, they told me I'd never need glasses. So, I would say my sense of sight is my most dominant one.
Interestingly, I often have my eyes closed, especially when I practice yoga or engage in activities where it's safe to do so, like when I'm not driving. I derive a great deal of pleasure from closing my eyes, and perhaps that's because my sense of vision can sometimes be overpowering. Closing my eyes allows me to rely more on my other senses, like hearing and smell, and even touch. My eyes, they're in harmony with all my senses, but if I had to choose the strongest, it would be my eyes.
However, I'd also mention my "third eye" in a metaphorical sense, the way I envision things. It's as if I see things in my mind, fully constructed and ready, regardless of what it is. This applies not only to spaces but also to things like furniture, clothing, and even music. I don't create music, but I feel like I "see" the music, you know? But it's not with my physical eyes; it's more like a spiritual or imaginative eye.
What type of texture sounds for you the most interesting?
STEPHANIE STRÖM
I find textures fascinating, particularly in the way they engage our sense of touch. I appreciate the juxtaposition of contrasting textures; it's like celebrating the harmony of opposites. For instance, if I come across a stunningly beautiful stone, I prefer to showcase its natural form. Take, for example, my Yin and Yang sculptures; they originate from the rugged cliffs of a quarry, preserving their rough, unaltered textures, adorned with various colors. This untouched rawness fascinates me.
On the other hand, I also admire the transformation of textures through craftsmanship. I'm drawn to the sophistication found in high-quality materials, such as natural stone. It's enchanting when a stone displays a beautiful vein of marble, possessing a smooth, soft, and elegant surface. It's like witnessing the delicate balance between refinement and rawness within the same piece, which is why I'm so passionate about exploring various textures.
Beyond this, I have a fondness for soft textures, like fabric, as long as they aren't overly glossy. Shiny finishes don't resonate with me. I'm more inclined towards matte or textured surfaces.
INTERVIEWER
What type of music influences your work?
STEPHANIE STRÖM
The kind of music that inspires me is usually more about sounds than traditional music, or you could say that sounds are like music to me. What I mean by that is one of the first times I really explored sounds was during a visit to Berlin for a music and arts festival at the iconic Kraftwerk. This must have been around 5 or 6 years ago, maybe even longer. Anyway, it was fascinating because the sounds there were incredibly immersive and unconventional. They used different kinds of instruments and objects, playing them experimentally without any set order. It was mesmerizing to realize that music didn't have to follow a conventional rhythm, so to speak. So, I'm really drawn to sounds.
Many Japanese artists have been a significant influence on me, and I would also mention techno, especially minimal techno. I began practicing Kundalini Yoga at the age of 15, and in Kundalini Yoga, there's a lot of emphasis on sound through mantras and such. So, I'd say that this kind of music is what inspires me. But then again, I just love listening to music in general. My taste is quite eclectic, ranging from house, deep house, and electronic music to piano, classical music, mantras, and even some really hard-hitting techno. It's a wide spectrum.
INTERVIEWER
Which of your senses do you consider to be the strongest?
STEPHANIE STRÖM
It's quite interesting because I believe all my senses are very much engaged. I think that's why I find it effortless to envision things, such as spaces that don't even exist. But I can imagine every detail, from the tactile sensation of walking into that space to the texture underfoot, the way light plays upon surfaces, and how things could be elevated. If I had to pick one, I'd probably say my eyes. I actually have excellent vision; it's so good that when I attempted to get reading glasses during my younger years, thinking they were fashionable, they told me I'd never need glasses. So, I would say my sense of sight is my most dominant one.
Interestingly, I often have my eyes closed, especially when I practice yoga or engage in activities where it's safe to do so, like when I'm not driving. I derive a great deal of pleasure from closing my eyes, and perhaps that's because my sense of vision can sometimes be overpowering. Closing my eyes allows me to rely more on my other senses, like hearing and smell, and even touch. My eyes, they're in harmony with all my senses, but if I had to choose the strongest, it would be my eyes.
However, I'd also mention my "third eye" in a metaphorical sense, the way I envision things. It's as if I see things in my mind, fully constructed and ready, regardless of what it is. This applies not only to spaces but also to things like furniture, clothing, and even music. I don't create music, but I feel like I "see" the music, you know? But it's not with my physical eyes; it's more like a spiritual or imaginative eye.
Stephanie Strom's life unfolds like a mesmerizing narrative, effortlessly bridging continents and transcending boundaries to craft an authentic and compelling story.
As her creative journey expanded, Stephanie's pursuit led her to Berlin, a city throbbing with the hypnotic rhythms of electronic music. Amidst the relentless beats of techno and the enigmatic ambiance of iconic clubs, she found a new catalyst, as she passionately revealed during our interview: music pulsated through her work, infusing every creation with a vibrant rhythm.
Mexico, a captivating blend of cultures and styles, beckoned as the next chapter in this extraordinary odyssey. Her original plan, dividing her life between Berlin and Mexico, epitomized her insatiable curiosity and the desire to interlace diverse creative influences, further enriching her artistic tapestry.
Today, her creations spring to life in Mérida and the vibrant artistic hubs of Jalisco, Mexico, destined for a store in New York alongside the works of fellow Mexican designers. The impact is undeniable; her creations, reminiscent of the untamed beauty of natural stone sculptures, have graced the covers of renowned design magazines worldwide, including Elle Decor Italy, Elle Decor Sweden, Vogue living Australia and Interior Design USA cementing her presence on the global stage.
Stephanie's journey was not without hurdles, from carving her name in a fiercely competitive arena to boldly venturing into the Mexican market amidst a global pandemic. Yet, her unwavering self-belief and her team's relentless dedication propelled her to new heights.
At Sublime Studio, furniture transcends mere function; it evolves into a sensory odyssey weaving together continents, cultures, and the unbridled essence of creative ardor. Stephanie Strom's narrative unfolds like a crescendo of art and senses, seamlessly interwoven with her sculptural creations.
As her creative journey expanded, Stephanie's pursuit led her to Berlin, a city throbbing with the hypnotic rhythms of electronic music. Amidst the relentless beats of techno and the enigmatic ambiance of iconic clubs, she found a new catalyst, as she passionately revealed during our interview: music pulsated through her work, infusing every creation with a vibrant rhythm.
Mexico, a captivating blend of cultures and styles, beckoned as the next chapter in this extraordinary odyssey. Her original plan, dividing her life between Berlin and Mexico, epitomized her insatiable curiosity and the desire to interlace diverse creative influences, further enriching her artistic tapestry.
Today, her creations spring to life in Mérida and the vibrant artistic hubs of Jalisco, Mexico, destined for a store in New York alongside the works of fellow Mexican designers. The impact is undeniable; her creations, reminiscent of the untamed beauty of natural stone sculptures, have graced the covers of renowned design magazines worldwide, including Elle Decor Italy, Elle Decor Sweden, Vogue living Australia and Interior Design USA cementing her presence on the global stage.
Stephanie's journey was not without hurdles, from carving her name in a fiercely competitive arena to boldly venturing into the Mexican market amidst a global pandemic. Yet, her unwavering self-belief and her team's relentless dedication propelled her to new heights.
At Sublime Studio, furniture transcends mere function; it evolves into a sensory odyssey weaving together continents, cultures, and the unbridled essence of creative ardor. Stephanie Strom's narrative unfolds like a crescendo of art and senses, seamlessly interwoven with her sculptural creations.