Extract from trend forecast, Marie Claire Masion 2016
2nd January 2016
-What were your influences and what impressed your designs in 2015.
After 20 years of living and working in London, my family and I moved to the Sussex coast.
The new studio is a disused Shepherd's hut on a farm in the South Downs.
The building stands alone in a field. It is very quiet, there are few people and it is open to the wind, the rain and the sun.
It sometimes feels like I am at sea.
The trees have come in to leaf, lambs have been born, the meadow has grown tall with wild flowers and the birds have raised their young. Acorns and berries have come and ripened. The hay has been cut and taken in. The leaves have aged and are beginning to turn and a cold wind blows in from the sea again.
This has been my influence in 2015. This is what has impressed, informed and inspired my recent work.
In this change from urban to rural, the horizon has broadened, the space has opened and time is at a natural pace. My work, attitude and intentions have expanded in to this place. Processes have evolved, scale has increased and a new chapter of narrative has begun.
-Which design object from 2015 would you like to have.
A recent work by Wycliffe Stutchbury titled 'Hundred Foot Drain 1'.
The work is made from 5,000 year old Oak, recovered from the Ouse Washes in Norfolk, England.
Much of Wycliffe's work is meticulously laboured. His patience and skill produce monastic monuments to the material with which he works and resonate with a purity, honesty and timelessness.
'Hundred Foot Drain 1' is made from two pieces of ancient Oak that Wycliffe has prepared and joined together. Then, with courage and insight, has done nothing more.
The work is direct and intuitive. Wycliffe rescinds the need to impress, intervene or adjust. Instead the Oak and its placement speaks and breathes.
'Hundred Foot Drain 1' is a totem to the landscape, the environment, the passage of time and our place within it.
If this piece were to survive for another 5,000 years, I would gladly live beside it for the time that I may have.
Please see must haves of 2015 for image.
-What is your design forecast for 2016
Around the world there is revolution. There is change, displacement, restructuring and a general undoing.
There is a growing awareness of truth and a rejection of what is not.
Our perception is becoming ever more sophisticated and informed. Humanity is re-booting.
The world of art and design is not separate from this. It is a critical component of the change.
The corporate, the brands and the mass markets blatantly adopt the slogans of artisan, handmade and crafted in an effort to bring value to their products. This is seen for what it is.
Increasing the spotlight falls upon the artists and makers whose work has reason, integrity and substance. Work that, with quiet confidence and skill, communicates values both new and ancient. Values, without which, the human spirit cannot thrive.
These makers are capable of the most careful, precious and sensitive touch. They can discern the slightest increment of imbalance or fault and with unfathomable precision, correct and adjust. They can put, place, shape and colour materials to create composition and aesthetic as beautiful as anything found in the natural world. They are courageous and determined.
Environments are created and objects are produced that connect with our feelings, our thoughts and communicate a sense of completeness. They convey a narrative that is both intimate and inclusive and strive to express what is important and of worth in our world.
The places in which we live and the objects with which we share our space are key to our well being. There is a growing movement that rejects the shallow brand and the façade of manufacture and instead welcomes the sincere and the unadorned.
The integration of this work into our public and private lives generates a visceral positivity and stands as an emblem to the power of human expression.
This is not a time for speculative forecast. This is a time for clarity and mindfulness. There is a lot to do.
-What are your plans for 2016.
I am building a wood kiln at the studio and will be developing my ceramic work and larger wood vessels.
A new collection is taking shape for shows in Basel, Geneva, Chicago, Monte Carlo and London.
I have begun collaborating with architects and designers for the commissioning and integration of larger works for interior projects.
I am planning to curate a show of makers in London.
I would like to do some painting.
2016 will be a good year.
Sasa Works Craig Bamford