The motivation was the methodology: the process of making, of producing and absolutely not striving for the perfect one. This kind of making was very much about restrictions rather than freedom. The restrictions were key: the material, the style or the design of the found chairs and the time available ? just a 100 days. Each new chair had to be unique, that?s what kept me working toward the elusive one-hundredth chair.
I collected discarded chairs from London streets (or more frequently, friends? homes) over a period of about two years. My intention was to investigate the potential of creating useful new chairs by blending together the stylistic and structural elements of the found ones. The process produced something like a three-dimensional sketchbook, a collection of possibilities. I wanted to question the idea of there being an innate superiority in the one-off and used this hybrid technique to demonstrate the difficulty of any one design being objectively judged The Best. I also hope my chairs illustrate ? and celebrate ? the geographical, historical and human resonance of design: what can they tell us about their place of origin or their previous sociological context and even their previous owners? For me, the stories behind the chairs are as important as their style or even their function.
I love the idea of making chairs that don't strive for perfectness but show the process of making and the fact that they are very much unique. Gamper's concept of making chairs by combining different parts of conventional chairs really questions what a perfect chair should look like.
Here are some of my favourites:
I like these chairs in particular because the seating area is made our of less conventional material like a box, the back of the chair of the two chairs stuck together.
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