What happens when timeless design meets urban contemporary art?
For decades, Stelton has worked with steel, proportions and form in their most concentrated expression. Objects created with precision and a clear idea that design must be both functional and distinctive.
We were curious about what happens when two worlds meet. What synergies can emerge when you take timeless design and add the edge from artist Mikael B – known for his characteristic, urban and graphic universe.
The result is a limited edition thermos bottle – where Stelton's minimalist design and Mikael B's expressive graphics meet in the same object.
About Mikael B
Mikael B works in the space between graphic design, graffiti and abstract art. He works with rhythm, layers and colour depth. When his work unfolds on Stelton's iconic thermos bottle, a striking contrast emerges between the stringent and the expressive.
About Mikael B
What sparked your interest in collaborating with Stelton?
Stelton represents a strong Danish design tradition where function and aesthetics go hand in hand. That really appeals to me. I’ve always been fascinated by design objects that become a natural part of our everyday lives, and the idea of letting an artwork live on through a functional object made perfect sense to me. In that way, the art moves out of the room and into life—not as something you only experience from a distance, but as something you actually use and hold in your hands every day.
What inspired the artwork on Stelton’s vacuum insulated bottle – and more generally the exhibition?
The work originates from my paintings in my most recent exhibition, OMNIA, which, among other things, explores the way we see and experience art. I work with many layers and contrasts, balancing between the spontaneous and the controlled. My works usually begin very intuitively and explosively, after which I gradually develop the structure. That moment when something breaks through—where the intuitive and the planned meet—is a magical point that I’m deeply interested in. I wanted to preserve that same energy and movement from the paintings on the bottle.
What considerations did you make regarding composition when adapting the work to a cylindrical steel form?
A cylinder is interesting because the work is never experienced all at once. It unfolds as you turn the flask in your hand. That’s why I worked very consciously with flow in the composition and a sense of movement that continues around the form without a clear beginning or end.
There is a strong sense of rhythm and movement in the work—what do you hope people will experience or feel when they see it on the bottle?
My art is abstract and open to interpretation. For me, it’s about creating a space where you can feel, reflect, and connect with the work in your own way. The flask is an everyday object, but the artwork adds energy and movement that might remind you that creativity doesn’t belong only in the studio or the museum. It also exists in the small moments of daily life, in the things we surround ourselves with.
Is there a particular detail in the work that you hope people will notice when they look closely?
There are many small layers and details that only become visible when you get very close. The process typically begins with spray in the background, creating a deep, almost atmospheric foundation for the work. I then work with different mixtures of liquid acrylic, which I control and manipulate to guide the movement of the paint and build specific shapes and compositions. It’s more of a whole that you can explore. The work functions from a distance, but it rewards curiosity when you move closer.
With the exhibition 'OMNIA' at The Plant CPH, he created an immersive experience where viewers can step into his abstract universes. The collaboration with Stelton is a natural extension of this vision – bringing art into everyday life.