Whilst in Copenhagen, I was deeply inspired by the rich traditions of Scandinavian Furniture design. The minimalist aesthetic of lightness, in combination with the primacy of, and respect for material which was taught during this class has become foundational for my work as an artist and designer. It was there that I learned the framework of “tectonics,” which seeks to balance form, materiality, and technique, and is something that I consider across all aspects of my work. The results of this learning are immediately evident in the work I made before, during, and after my studies in Denmark.

Before, the furniture I had designed and built was considerably more awkward, aesthetically. The shapes and design language I used was considerably more flat, and at times even clunky. This changed under the instruction I received in Copenhagen, where I was encouraged to give deeper consideration to the nature of wood as a working material, and how all aspects of a design, down to the tiniest detail, can be used to enhance the experience which the furniture seeks to elicit. Since returning from Copenhagen I have been heavily engrossed in my Fine Art practice, but despite my temporary hiatus from furniture making, the lessons learned abroad are still evident in my art making. The rotational form considers ceramics as a cylindrically symmetrical media, and the work displays a consideration for lightness and visual quietude.

My international experience in Copenhagen fundamentally altered how I approach art and design. Whether I am working on wooden furniture or a conceptual sculpture, the aesthetic values and craftsmanship I learned abroad have been irrevocably instilled into my hand as a maker.