Kingston School of Art
I am a maker working across craft and design. My practice is driven by an exploration of materials and their interaction with specific making processes. I seek to balance controlled, fine craftsmanship with the free expression of the material itself. Each decision I make carries consequences, ones that aim to celebrate the inherent personality of the material or the process. Using furniture as a form of artistic expression, I create pieces that are unique to each making. My work embraces contrast, texture, and individuality - resulting in objects that hold presence, character, and a sense of material honesty.
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Category: Interior
Competitions: Home Competition 2025
This lamp looks to create simple lighting solution from beech wood, joined by the use of metal wire. Simplifying the construction process of the object and enabling the full deconstruction and reconstruction of parts for repairs, re-makes and recycling. The lamp showcases two beautiful materials side by side, while creating a light which spreads ambient table top lighting.
Category: Furniture
Competitions: Home Competition 2025
A response to the culture and dialogue surrounding crafts‘man’ship. These pieces seek to open up a conversation about how people talk about being a craftsperson and to consider how to create open and inclusive environments for makers from all backgrounds and approaches. The designs are represented by two cabinets: The Tool Cabinet: Adorned with marks of the makers hands, created by using an ebonizing solution on the makers hands which react with the tannins in the oak to leave traces of where the focus of work has been. The Drinks Cabinet: In contrast, this cabinet is devoid of any marks of the maker. Creating a striking comparison to the Tool Cabinet highlighting the touch of the maker further.
Category: Furniture
Competitions: Home Competition 2025
Using fire to burn away the key contact points of the chair components. The Carved with Fire Throne was inspired by the use of British timber for firewood, the chair uses fire to carve the components of the chair that a person touches. Bringing a unique and highly textural seating experience, creating conversation and consideration of how we use British timber and the impact of these choices.
Category: Furniture
Competitions: Home Competition 2025
Re-thatched is a research-based project examining the characteristics, techniques and materials of thatching across the UK, with the aim of reapplying these traditional craft practices to contemporary furniture design. Merging tradition practices with functionality, creating a thatched shelf symbolising the preservation and adaptation of heritage in contemporary life. Inspired by the corner of thatched roofs, this piece has been designed as centre piece with each angle providing a unique perspective of the surfaces, textures, and shapes of thatch.
Category: Furniture
Competitions: Home Competition 2024
Inspired by the coppiced woodlands relationship with light, and the shapes and dappled lights in these environments. While the solution was developed to support the loss of managed woodlands in the UK and especially the loss of traditional coppiced woodlands. The product range of through the canopy is in direct response to the drive to bring value and a contemporary take back to the coppicing community, process and culture. The range looks to take inspiration from the shapes and light rays found within a managed coppiced woodland, taking this spirit into contemporary interior spaces. Showcasing natural materials, beautiful textures, material properties and functionality. Constructed using coppiced hazel, the light range creates a choice of contemporary large interior lights, using integrated LED strips to create a beam of light to fill spaces in a unique way. As seen in the associated imagery there are 5 variations of the lighting; Curved Uplighting Pendant, Curved Downlighting Pendant, Vertical Floor Light (3 lengths), Curved Floor-Wall Light, Curved Floor-Floor Light. Material breakdown: a detailed explanation of the materials used, their sourcing, and the rationale behind their selection. The key material is coppiced Hazel, it is used to create the main structure of the light, sourced through partnered coppiced woodlands, and is used as it provides an alternative material which is regenerative, structurally favourable (can be bent and straightened as required) and tells a direct story through the material from the woodland to the product. The base will either be made from larger coppiced logs which would traditionally used for firewood to create the weighted base required for stability, or, if the partnered woodlands do not have managed trees to provide the required scale bases then using Steel bases created through traditional iron monger will be used. Iron mongery and coppicing traditionally go hand in hand as seasonal work to support crafts such as thatching, wheel writing and other traditional crafts. While the light source will use a standard LED fillament strip light to provide delicate, low profile and contemporary lighting effect.
Category: Furniture
Competitions: Home Competition 2024
Ebon is product range which looks to take a fresh perspective on the age old process of Ebonizing timber to stain the surface. My consideration for the process of ebonizing, is to use a vinegar and wire wool solution (creating Iron Acetate) as a material to create patterns, like a paint. To create products which have a unique style and pattern which are free of petrochemical based products. Within the associated imagery you will see I used a four sided dried flower vase to provide the opportunity to display my take on the process and showcase the material pattern/effect created. For further development of this product range I am looking to expand the applications of this product range, by creating large statement vases, coffee table tops and the consideration of pendent lamps. If this product goes on to win I would Design documentation: The design process for this is split into two parts, one designing the object upon which the application of ebonizing will be made and the second is creating the ebonizing pattern/effect. Within the making process, in this case for the vase, the ebonizing is the primary step and then the object is created from the material which is ebonized. 1 Create ebonizing solution Place steel wool into a vessel and cover with vinegar. Leave for three days to ensure the required reaction is complete. 2 Prepare the Beech timber Ensure the beech timber is sanded to appropriate level and cut to relevant size to apply the ebonizing solution. 3 Apply ebonizing solution to Beech timber Apply the solution to the Timber surface. In this example, and as seen in image of vase containing dried lavender; pour small puddles of the solution around the surface of the timber, and then tilt the timber in all directions to enable the liquid to flow between the puddles creating a unique and natural pattern on the surface. 4 Cut timber to designed dimensions Using the designed demensions cut the required timber. In this example, cut 45-degree edges and to the four side panels, cut a sli 5 Sand timber Sand timber to appropriate level, ensuring this doesn’t remove layer of stained timber. 6 Construct and Glue Product Assembled product, bringing sheet material together to construct the 3d product. Using wood glue and strapping to ensure a strong construction 7 Vanish/Oil Product Material breakdown: As seen in the associated imagery, I have tested this process on a variety of timbers to identify the strengths and weaknesses of the timber choices. Leading me to the current position of defining Beech to be the best timber for this application and process. Beech was selected due to the tight grain and low pourosity of the timber, which reduced the bleeding of the stain and created crisp lines between stained and unstained areas of timber. While the secondary material choice is the solution which can be made using vinegar (a natural resource) and iron which reacts to create the required solution for ebonizing.
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