Material Matters With Grant Gibson

Natsai Audrey Chieza is a designer who has built an extraordinary career by working with bacteria. She grew up in Zimbabwe, before moving to the UK at the age of 17 and training as an architect at Edinburgh University. Subsequently though, she changed tack and completed her MA on the Material Futures course at London’s Central Saint Martins. Now through her experimental studio, Faber Futures, she operates between biology, design and our wider society, working, for instance, with microorganisms to find new, ecologically-sound, processes for dying our clothes. As one magazine put it: ‘For Chieza, designing with biology presents unique opportunities to address significant ecological challenges, squaring the circle of sustainable production and finite resources.’ Her work has been exhibited in places such as the V&A, the London Design Museum, and the Bauhaus Dessau Foundation. She also has a wildly successful TED talk under her belt. More recently she has set up a multi-media storytelling platform with Ginkgo

Julia Lohmann is a German-born designer who first came to prominence after graduating from the Royal College of Art in 2004 with a chandelier fashioned from 50 preserved sheep stomachs. She followed that up with a stool made by casting the inside of a dead calf and, perhaps most famously, with her Cow Bench – essentially a sculpture of a cow’s body covered, anatomically correctly, with an entire hide. Both beautiful and a bit disturbing, the pieces were created as provocations, to make us consider the provenance of the stuff we wear and sit on everyday. However, more recently, she has become known for her research into kelp. In 2013, Julia set up the Department of Seaweed during a six-month residency at London’s V&A, which allowed her to start exploring the potential of this extraordinary material and she has been working with it ever since. In this episode we discuss: how she came across kelp in the first instance; inventing her own form of craft; the future role of museums; the importance of dissonance

Esna Su is an artist and jewellery designer, who was brought up in Turkey, near the Syrian border, before arriving in London in 2003. Since graduating from Central Saint Martins in 2015, she has developed a reputation for her extraordinary pieces that attempt to highlight the plight of refugees. Her wearable sculptures curve and bulge around the body, using traditional Turkish techniques of hasir, twining, needlework and crochet, as well as materials such as leather, cotton and paper rush.In her collection entitled The Burden I, for example, knitted vegetable tanned leather cord is moulded around some of her most cherished objects, leaving hollow shapes that in the artist’s words ‘contain memories and the loss of the past’. It is stunning, deeply moving work that combines craft with protest and a deep-seated sense of empathy. As one writer put it: ‘Su actively seeks out both the horror and the beauty in her own cultural history as a way of unpicking contemporary issues surrounding cultural identities.’In this

Dominic Wilcox is a London-based designer, artist and inventor. I first came across his work in 2002 when he created The War Bowl, in which he melted down plastic toy soldiers from a particular battle and turned them into, well, a bowl. Since then he has gone onto to create a singular space in the design world, with witty creations and drawings that are a combination of David Shrigley and Heath Robinson, with a dash of Vic and Bob thrown in to boot. In Wilcox’s hands your shoes can tell you where to go, a crane comes out of a hat on top of your head and serves you breakfast, while your car is made of stained glass. Oh, and there are art exhibitions designed specifically for dogs. But this isn’t whimsy. There is logic behind everything he does and a desire to turn the normal things around us into something interesting and surprising. To make life just a little bit better. More recently, he has been turning his attention to schools, through the Little Inventors Project, which encourages children to use their cr

The final episode of this special ‘lockdown’ series of Material Matters features Alexis Peskine. I came across the Paris-based artist’s work at last year’s 1-54 Contemporary African Art Fair at London’s Somerset House and described it in a subsequent Instagram post as ‘breathtaking’. Rather than using canvas, Peskine takes an earth and coffee-stained timber base. And instead of paint, he hammers nails at different heights, which are often tipped with gold leaf to form the features of a face. The resulting portraits of black subjects – or Power Figures – are large scale and immensely detailed while being both beautiful and haunting at the same time. They also possess a wonderful sense of topography. The work talks about race, migration, deportation, with recent pieces paying tribute to migrants undertaking dangerous boat journeys from North Africa to Europe. It is utterly extraordinary.We talk about what the nails represent and his intricate process; his eclectic family background; why his talent for basketbal

In the fifth ‘lockdown special’ of Material Matters, I speak to the brilliant Lin Cheung. Lin is one of the world’s most intriguing jewellery designers, her output vacillating between installation pieces, work that contains political and social commentary, as well as high profile commissions, including the medals for the 2012 Paralympic Games in London. She picked up an Arts Foundation Award in 2001 and a Jerwood Contemporary Makers Award in 2008. In 2017 she was shortlisted for the Woman’s Hour Craft Prize, while in 2018 she won the prestigious Francoise van den Bosch Award. She is also a teacher on the jewellery course at Central Saint Martins. As one critic said: ‘Lin’s work is a commentary on the human condition, a conveyer of the maker’s thoughts and feelings, a constant exploration into the meanings of jewellery.’Over the years she has worked in a range of materials but, at least to begin with, we chat about her most recent collections, which have been made from stone.During our interview Lin also touch

The fourth ‘lockdown special’ episode of Material Matters features the excellent Fernando Laposse. The up-and-coming designer has made his name in recent years with his colourfully beautiful veneer, Totomoxtle, which is made from the husks of Mexican corn grown in the tiny village of Tonahuixtla. The product was included in last year’s exhibition Food: Bigger than the Plate at the Victoria and Albert Museum, as well as being shortlisted for the London Design Museum’s Beazley Designs of the Year in 2018.In this episode the Paris-born but Mexican-bred designer talks about the background of this deeply personal project, which involves macro-economics (and Mexico’s controversial free trade agreement with the US and Canada); agricultural heritage; global food culture; old family friends and childhood summer holidays; as well as craft and, of course, corn. Importantly it illustrates how design thinking can genuinely make a difference to an entire community, showing that traditional techniques and ways of living can

The third 'lockdown special' of Material Matters features the radical knitter Freddie Robins. The common perception of knitting is that it’s a gentle, mindful activity. A thing you can do quietly in front of the television to relax after a hard day. Well Robins’ work is the antithesis of all that. It’s frequently dark, and always provocative. Her subject matter encompasses death, loss, religion, depression and challenges the perceived hierarchy of the art and craft worlds. It is work meant for the gallery rather than to be worn at home and comes with titles such as ‘Bad Mother’ and ‘I’m so Bloody Sad’. Kaffe Fassett she ain’t.In this episode we discuss: the pivotal role her Godmother played in her childhood fascination with textiles; her loathing of conformity and the ‘danger of being ridden over by mediocrity’; her spell working in the fashion world; exploring the dark side through her work; having her pieces vandalised; and why knitting shouldn’t always be good for you. Not only that but we also c

The second ‘lockdown special’ episode of Material Matters features the excellent Sheridan Coakley. The entrepreneur cut his teeth as a modern furniture dealer before founding the iconic SCP – or Sheridan Coakley Products – in London’s Shoreditch during the mid-eighties. The manufacturer and retailer burst onto the nascent British design scene with pieces by Jasper Morrison and Matthew Hilton. In 1991 it produced the latter’s Balzac armchair, which has gone on to become a bona fide classic. Over the years the roll call of designers Sheridan has worked with includes: Konstantin Grcic, James Irvine, Michael Marriott, Donna Wilson, Rachel Whiteread and Reiko Kaneko to name just a handful. He has legitimate claims to be considered one of the most influential figures in British design over the past 35 years. In this episode we talk about his early days; swapping bubblegum cards with artist Eduardo Paolozzi; meeting Jasper Morrison for the first time (in quite surprising circumstances); setting up business in unfash

This is the first special ‘lockdown’ edition of Material Matters. As regular listeners will be aware, we usually record our interviews in the studio or workshop of our guest but, because of the virus, this wasn’t able to happen.So instead this show was done over the internet with the brilliant Gareth Neal. The London-based designer and maker has exhibited pieces across the world and has work in the collections of the V&A and the Crafts Council. Over the course of our chat, Gareth talks about his latest work in 3D printed sand; explains why designers should constantly be questioning themselves and their methods; and unpicks his eclectic collaborations with the likes of Orkney chair maker Kevin Gauld and cutting-edge architect, the late, great Zaha Hadid. However, the real focus of our discussion is his lifelong relationship with timber – he illustrates how the material is both fascinating and frustrating in equal measure – and technology, with the self-confessed ‘gambler’ putting forward a case for why dig

Junko Mori is one of the world’s leading metal artists, who has work in the collections of The Goldsmiths’ Company, The British Museum and numerous others. The Japanese born blacksmith is renowned for her extraordinary work in mild steel or silver that aggregates hundreds of individually forged elements to create pieces that are often inspired by nature in general and cell division in particular. As she has said: ‘The uncontrollable beauty is the core of my concept.’ We talk about growing up in her native Japan; how she ended up fixing boilers in Tokyo for a living; why she decided to move to the UK in the 1990s; the fundamental differences between the two cultures she has lived in; and how she learned English by going to the local pub. Most importantly we talk about metal and the meditative qualities of forging – it’s a bit like jogging only better apparently.You can find out more about Junko’s work here: www.junkomori.comMeanwhile her pieces can be purchased here: adriansassoon.comSupport the show (https://

It’s safe to say that ceramist Malene Hartmann Rasmussen is a one-off. I vividly remember first seeing one of her pieces in 2011. ‘If I Had a Heart I Could Love You’ was tucked away in a corner of an exhibition. At its centre was a wood burning stove but instead of logs there were clay hearts sizzling in the fire. Phallic wooden stumps grew out of the walls, while on the floor a pair of ceramic snakes appeared to be taking a distinctly Machiavellian interest in a nearby squirrel. It was obviously profoundly influenced by the fairy tales of the Brothers Grimm but also contained more than a hint of Pop Art as well as a dash of David Lynch’s seminal Twin Peaks.In this conversation we talk about how growing up in provincial Denmark, with a family that had more than its fair share of issues, effected her work; her love of traditional Nordic fairytales in general and trolls in particular; a life-long fascination with film; and why her dog Django features so prominently in her work. Primarily though was focus on her

Car designer John Barnard is a Formula 1 legend. If motor sport is an orchestra of materials then John is its Simon Rattle. Over a garlanded career he worked for Ferrari (twice), Arrows and Prost. But his reputation was forged at McLaren, where he created the first car with a carbon fibre chassis. Lighter and safer, it won a lot of races too. More recently he has been working on a range of carbon fibre furniture with Terence Woodgate for British manufacturer Established & Sons.In this episode we talk about quite how controversial it was to use carbon in the early ’80s, with other designers (and the media) believing that in a crash the new car would go up in a cloud of black dust. We also discuss his relationships with some of the biggest names in the sport, including Ron Dennis, Alain Prost and the great Enzo Ferrari; his childhood in North Wembley; the importance of beauty in what can be a brutal business; the profound effect the death of Ayrton Senna had on F1; his innate understanding of a vast range o

Daniel Charny is a design educator, curator and a creative consultant whose practice, From Now On, has worked with the likes of the Design Museum, developer U+I, and Heatherwick Studio. However, he is arguably best known for co-founding Fixperts, an organisation which in the words of one writer ‘started out as a simple way of celebrating and clarifying the ingenuity and problem-solving power of design’. Since then though it has become rather more than that. In this episode we talk about the importance of making and the ‘axis of care’ that runs the gamut from conservation to hacking; craft’s relationship with industry; his upbringing in Israel (and elsewhere); the time Ron Arad told him he was unemployable; and his surprise at the huge success his V&A exhibition, Power of Making, enjoyed. Mostly though we focus on the success of Fixperts and why he wants everyone to be repairing things.You can find out more about From Now On here: fromnowon.co.uk and there’s more about Fixperts here: fixing.education/fixpe

Shelley James is a globally renowned glass artist with a fascinating tale to tell. She was ensconced in the corporate branding world – working for the likes of Imagination and Landor – before an injury to her head, sustained in a bicycle accident, completely changed her life and perspective. After a six-year (yes, six-year) period of convalescence, she decided to leave the business world behind and study printmaking. However, after a trip to the National Glass Centre in Sunderland, she became smitten with the material and has set out to push its possibilities ever since. Always looking to collaborate with new people from different disciplines, she has worked with surgeons at Bristol Eye Hospital, physicists at Imperial College, contemporary musicians and even Sir Roger Penrose, a mathematician and philosopher of science famed for (among other things) his research with Stephen Hawking. And she has managed all this despite only scraping an O Level in Maths. Shelley also happens to be wonderfully articulate, whi

Edward Barber and Jay Osgerby of Barber Osgerby are renowned industrial designers who have worked for the likes of Vitra, Knoll, Magis and Flos, as well as working on installations for brands such as BMW and Sony.  In this episode the intention was to chat about the role plywood played in their nascent careers with Iskon Plus. However, we ended up chewing the fat about (among other things): meeting at the Royal College of Art and nearly being kicked out; not slagging off Richard Rogers; the 'toxicity’ of contemporary design; how the British design scene has changed since they emerged in the ’90s; the importance of collaboration; their obsession with making; and why their work definitely, definitely isn’t ‘Blair-ite’. En route we also go into detail about the creation of the Olympic torch for the 2012 Games, the thinking behind their revolutionary Tip Ton chair for Vitra, and their recent On & On stacking chair made of recycled plastic for the US manufacturer Emeco.You can learn more about Jay and Ed’

Corinne Julius is a London-based journalist, broadcaster and curator who was born into design. In this episode we discuss the history of her family firm, Hille, which revolutionised British furniture design after the Second World War, pioneering work from the likes of Robin Day and Fred Scott; her difficult time at the Royal College of Art and why she eventually felt compelled to leave; how she fell into journalism; and her introduction of craft to Radio 4’s Woman’s Hour. Importantly too, we examine her curating work, which includes the Silver Speaks: Idea to Object exhibition at the V&A and Future Heritage, her annual showcase of cutting-edge craft and design at the high end interiors show, Decorex. For good measure we also touch on the relationship between art, craft and design, and the importance of thinking through making.I think it’s safe to say that Corinne had some reservations about doing the interview but (I reckon) that the finished result is evocative and really rather personal. Support the sho

Sebastian Cox is a young London-based furniture designer, who founded and co-directs his eponymous company. He is renowned for his use of traditionally coppiced hazel. In this episode he talks about his ambitious new manifesto, Modern Life from Wilder Land, that sets out a more sustainable future for food production in the UK. We chat about how we need to radically shift the way we use land; reducing our reliance on meat; how our woodlands need to be more effectively managed; and why design is a political act. Oh and we also discuss his issues with sheep and going to the gym. Not only that but we also unpick his relationship with timber; the importance of coppicing to his practice; the pressure of making a bespoke desk for a certain Sir Terence Conran; his more recent experiments with mycelium; and his love of Northern Soul.You can find out more about Sebastian and his company here: sebastiancox.co.uk Support the show (https://www.patreon.com/materialmatters?fan_landing=true)

Barnaby Barford is a London-based artist and satirist. He has work in the collections of the V&A, Crafts Council and The Mint Museum, Charlotte, North Carolina. He initially came to prominence with work that often turned the mirror onto contemporary culture. In this episode he talks about his relationship with the material that brought him to prominence, ceramic.However, that’s only the start. Because he also discusses his feeling that he never quite fits in; his fascination with the British class system; why he creates pieces to understand the world around him; his desire to make life difficult for himself; and how his hatred of shopping spawned the extraordinary Tower of Babel installation that wowed crowds at London’s V&A in 2015. We also hear plenty about his current obsession with the apple and his 2019 show at the David Gill Gallery, MORE MORE MORE. It’s an interview that manages to be both personal and wide-ranging. You can learn more about Barnaby and his work here: barnabybarford.co.uk. While

Laura Youngson Coll is an artist and sculptor based in London. In this episode we talk about her relationship with vellum. Historically the calf’s, or goat’s skin, has been used to write on. The Magna Carta, for example, was inscribed on it as, for centuries, were the laws of this land. However, Youngson Coll, who has featured in Jerwood Makers Open and was shortlisted for the Woman’s Hour Craft Prize in 2017, manipulates the material to create extraordinarily intricate art works.Her pieces have been inspired by lichen and the 19th-century biologist Ernst Haeckel. However, her most poignant work came in response to the death of her partner Richard from non-Hodgkin lymphoma. She discusses her background; coming into contact with vellum for the first time; how it changed her art; and why the material allowed her to make sense of tragedy. A little like her sculptures, it’s delicate, poignant, emotional and moving.You can learn more about Laura and her work here: laurayoungsoncoll.co.ukSupport the show (https://w