It’s really great to support the creativity behind the different makers that we represent and see them run free within their craft and experiment with new techniques that might push their craft forward. Japanese woodworker Yusuke Tazawa has done that here with his new silver and blue makiji la
I believe we undervalue the passion behind the companies who are integrating handicraft in to their overall concept. To create a series of consistent designs across a whole collection that link good design with craftsmanship, not just from a visual sense but also taking in to consideration the maker
The sense of fun and play that architects must have when designing must be so rewarding. I’m sure when functionality comes in to play there’s a big discrepancy between what can actually be achieved thanks to the functionality of a build and the materials available at this current time. I
When we think about clay we tend to link this material to smooth forms that offer a sleek and seamless surface. Even the pottery wheel, one of the most used tools in this craft, is mainly used to construct forms that are cylindrical and offer little in the way of breaks in the overall structure [&he
Sometimes it’s difficult to see the actual origins of a piece of work. Especially in contemporary design where things are always stripped back. Taking a recent trip to the home and studio of famed British sculptor Henry Moore showed me the value in seeing culture in an object. Viewing his coll
I’m not really one to get nostalgic about a particular trip or experience but my journey to Atsushi Ogata’s studio in Nara, Japan was certainly enlightening and one that changed many of my thoughts regarding pottery as a craft. It’s funny how the experiences shape you more than any kin
We’ve covered the Bauhaus extensively here and many of the architects and designers who worked at this famous design school. The integration of craft and design was so important and ripples can still be felt today. We ourselves reference many of thoughts and ideologies that derived from this s
Melbourne has always been on the cutting edge of a new aesthetic. With so much youth in the city and a vibrant art scene it’s obvious to see the reason why. The aesthetic itself is a little harder to pin down but I definitely see the close proximity to Asia, especially Japan, as an obvious [&h
How can we assume that there’s no story to tell through craft? That our emotion can’t come through in to these natural materials? I suppose thousands of years of functional forms takes the edge off an art that is, and has always been, about self expression. Maybe then, it takes a special
Danish ceramic artist Heidi Hentze has been experimenting with connecting vessels that play on the translucency of porcelain, using texture and varying heights to create this mysterious ripple effect that Heidi has coined "An ambience of fragile existence".
We are pleased to introduce these special handcrafted mobiles by workshop Mother Tool in Japan that were made to link old technology with new and bring a sense of play to any space.
Looking for texture, shape, and colour combined? Look no further than the work of talented Chinese artist Yewen Dong who expresses herself through a number of different materials.