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NICK ROSS

@nick_______ross

25.2K

followers

1993

following

🏴󠁧󠁢󠁳󠁣󠁴󠁿/🇸🇪 ™
Stockholm, Sweden.
For sales & inquiries: [email protected]
Also @niko__june

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NICK ROSS X CONTEM - THE KING’S HAT

Thanks to everyone that came by today! Tomorrow we’re open between 09-12, welcome!

Photos by @mikaelolsson_ taken in Public Service Gallery by @nick_______ross

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2 years ago

Pharos for @louisvuitton

Cast polyurethane

Part of the #louis200 project

#louisvuitton #louisvuittonwindows taken in Stockholm, Sweden by @nick_______ross

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5 years ago

In Motion for @rimowa was shown in Berlin as the As Seen By project came to a close. taken in Kant-Garagen by @nick_______ross

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4 years ago

Dream collab unlocked. ✔️

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STOCKHOLM
2026.10.07

Created for @adidasoriginals this installation by Stockholm based designer Nick Ross explores the enduring legacy of the Stan Smith: a silhouette that has remained remarkably consistent while continually adapting to new cultural contexts.

Originally conceived for the tennis court, the Stan Smith has transcended its sporting origins to become one of the most recognisable and influential design objects in contemporary culture. Across generations, it has moved between sport, fashion, design and everyday life while retaining its defining codes: a clean silhouette, perforated Three Stripes and the iconic green heel tab. Together, these elements have become instantly recognisable signatures, continually reinterpreted across creative communities around the world.

For this project, Nick Ross takes the relationship between a fixed form and changing context as his point of departure. Constructed from a single repeated unit made from green pigmented pine, the installation transforms through repetition and rearrangement. The resulting form shifts between different functions and scales, becoming furniture, storage, architecture and sculpture without settling completely into any one category. Throughout the installation, the basic component remains constant; what changes is how it is arranged, encountered and understood.

Photos by @mikaelolsson_

@adidasoriginals
@redgertcomms by @nick_______ross

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9 days ago

In the studio with @pholcofficial. taken in Stockholm, Sweden by @nick_______ross

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25 days ago

P-A vase 13 (cherry). Recently sold at auction with @bukowskis.

Other versions available via @basic.space.

All unique. by @nick_______ross

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3 months ago

Scottish-Swedish designer @nick_______ross approaches design like an archaeologist – tracing how history and storytelling shape the objects we live with.

From his Stockholm studio, Ross pairs chairs in a range of woods with vases turned from their own offcuts: nothing wasted, every form in conversation with the one before it.

Now available on Basic.Space. by @nick_______ross

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3 months ago

HARD (Cadmium red), Solid spruce with aritist paint. 2026

For Scale Only at @v1salon is open until Saturday. So grateful for the opportunity to curate this show together with @frederik_nystrup_larsen.

Thanks to all the artists involved! by @nick_______ross

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4 months ago

Introducing Concave for @pholcofficial.

My first exploration in lighting. A collection of pendant and wall lamps in anodised aluminium.

Launched at @other.circle during the Copenhagen design week. taken in The Lab Cph by @nick_______ross

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4 months ago

OPENING TODAY I For Scale Only

A group exhibition with Fryd Frydendahl, Joline Kwakkenbos, Max Lamb, Kwangho Lee, Frederik Nystrup-Larsen, Rick Owens, Jesse Pollock, George Rouy, Nick Ross, Soft Baroque, Su Su, and Jesse Zuo
V1SALON I June 11 – July 4, 2026

Opening reception: Today, Tursday June 11, 16:00-19:00

A chair is perhaps the most familiar object through which we understand human proportion. In For Scale Only, it’s used not primarily for sitting, nor exactly as an object of design, but as a tool for reading scale. In the exhibition, a chair is placed beside each painting as a point of reference. This is a familiar device within art, yet one that has taken on renewed urgency in our digital age: when artworks are most often encountered within the small rectangle of a screen, their true dimensions are easily lost. Here, the chair anchors the work in the physical world, situating it in relation to the body and to space, while turning one of culture’s most charged objects into a purely illustrative tool.

The absurdity is twofold. In this relationship, the design of the chair is often overlooked, just as the artwork itself is reduced to something secondary. What matters is how the work functions in relation to furniture — scaled to a room, absorbed into an interior, and read as decoration. In this exhibition, that logic is made deliberately explicit. The chair does not support the painting so much as expose the strange system through which art is measured, positioned, and domesticated. The exhibition consists of six chairs and six artworks, in dialogue with each other across the exhibition space. In all these works, scale is treated as something active: not simply a dimension, but a way of seeing.

The concept of the exhibition is developed by Frederik Nystrup-Larsen and Nick Ross.

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Please direct all inquiries to mail@v1gallery.com

V1 SALON
Flæsketorvet 69 by @nick_______ross

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4 months ago

FOR SCALE ONLY

A group exhibition with Fryd Frydendahl, Joline Kwakkenbos, Max Lamb, Kwangho Lee, Frederik Nystrup Larsen, Rick Owens, Jesse Pollock, George Rouy, Nick Ross, Soft Baroque, Su Su, and Jesse Zuo

June 12 - July 4, 2026

Opening reception: Thursday June 11, 16:00-19:00

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A chair is perhaps the most familiar object through which we understand human proportion. In For Scale Only, it’s used not primarily for sitting, nor exactly as an object of design, but as a tool for reading scale. In the exhibition, a chair is placed beside each painting as a point of reference. This is a familiar device within art, yet one that has taken on renewed urgency in our digital age: when artworks are most often encountered within the small rectangle of a screen, their true dimensions are easily lost. Here, the chair anchors the work in the physical world, situating it in relation to the body and to space, while turning one of culture’s most charged objects into a purely illustrative tool.

The absurdity is twofold. In this relationship, the design of the chair is often overlooked, just as the artwork itself is reduced to something secondary. What matters is how the work functions in relation to furniture - scaled to a room, absorbed into an interior, and read as decoration. In this exhibition, that logic is made deliberately explicit. The chair does not support the painting so much as expose the strange system through which art is measured, positioned, and domesticated. The exhibition consists of six chairs and six artworks, in dialogue with each other across the exhibition space. In all these works, scale is treated as something active: not simply a dimension, but a way of seeing.

The concept of the exhibition is developed by Frederik Nystrup-Larsen and Nick Ross. by @nick_______ross

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4 months ago

Honoured and humbled to have been awarded Designer of the Year by @residencemag by @nick_______ross

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5 months ago