Wood, metal and plastic have been the holy trinity of the material landscape, the archetypal textures of ‘good taste’ and modernism. In these works James Shaw references the mid twentieth century period of design and modernism where
the current malaise of our usage of material was set. Polished metal and the smooth beauty of walnut timber are combined with the grotesque gloopyness of melted plastic. Particularly apt is that the plastic used is actually reclaimed from granulated ‘kodak yellow’ film canisters discovered in an old north London factory, alluding to Kodachrome, the excitement of a world in colour as expressed in the Paul Simon song.
The neon table light is a unique light sculpture made of free formed borosilicate glass tubing. Each one is one of its kind and part of a small edition. The form plays with the pure light emitted by the different rare gases, the undulating tube subtly manipulates the light, softening and intensifying it in turns.
What is the role of waste material in contemporary design production? How can designers rethink the value of objects, materials and processes considered as waste? George is a collection of furniture made from reclaimed sheets of Alpi wood, using pieces discarded through industrial production to create new hand-crafted objects. The discarded scraps
– sheets made from different colours and finishes – have been glued together to form a thick block of wood. In this way, sheets that are usually used as surface veneer, become a structural element, inverting the relationship between form and function, decoration and construction. Treating this processed material as a block of timber, Marco Campardo has chiselled the edges of the table, as a tongue-in-cheek homage to the great master George Nakashima. These chiselled blocks form an appealing series of stools, coffee tables and dining tables, offering a new aesthetic alternative to solid wood furniture. Inverting the relationship between the natural and the artificial, waste and resource, this project subtly questions the way we value materiality in the digital age.
Using a slab building technique, each piece is handmade, with white burning clay before being hand glazed and twice fired for 24 hours. The 7 unique pieces are custom made for SEEDS Gallery in 2020, instead of having names, these ceramics are numbered by the order they are made.