David Taylor, Object and Furniture Design

say hi to_ David Taylor

Chances are that if you are interested in contemporary design, the name David Taylor rings a few bells (I hope.) If by chance you are not already familiar with his sleek, futuristic innovations - well then you can thank me at the end of the article.

I first found his series of candle holders 'crowd', back in 2012 and loved the juxtaposition of rough, raw natural materials with colorful and sleek surfaces. I always get excited to find high end, fine art design objects which do not take themselves too seriously. David is the master of that concept in his breadth of work. Thoughtful and intelligent in using new techniques and methods on otherwise familiar surfaces - David has grown to be one of the most exciting designers coming from Sweden in the past few years. I feel as though he has been one of the front runners to break the Swedish minimalism stereotype and and really marry that internationally loved aesthetic with something more innovative and experimental.

I organised our first exhibition here in Paris last spring, which was based around a central theme of 'Natural Elements Meet Lustrous Futurism'; I instantly knew we had to get David involved. He created three one of a kind pieces for our show (which we will have available for purchase for collectors soon). One metallic lamp, made with a stone base, in particular was the main driving reason a few readers stopped by the exhibition. Let's just say he has a few groupies here in Paris (you can include me in that) and I am sure that pool will only grow with each new innovative and aesthetically pleasing series.

I sat him down to ask him a few questions about how he got started and his creative process. See what he had to say below.


David Taylor

August 23, 2017



Q + A

| Kristen | Can you introduce yourself and what you do?

I'm David, and my work is producing ideas and then translating them into real, hands-on things. I work mainly in metal, as I enjoy its predictability; metal doesn't really have its own will, as many other materials do. I make objects, mostly singulars, rarely more than five, and the multiples I make are never copies anyway. I like repetition, as repetition is the fundamental component in evolution; that's what I like to see in the work I make- a continuation, an ongoing process. I've done some product design and public art, but my first love is being in my workshop...in there I'm king, and I like that feeling.


| Kristen | How did you first start making fine art objects and furniture?

I contracted hepatitis on a riverboat in what was then Zaire, and my recovery involved a number of weeks lying in bed listening to the wind in the trees. I decided then that it was a good opportunity to make some kind of plan for the future, time to think. After a process of eliminations, discarding everything I didn't like doing and adding everything I did like doing, I arrived at silversmithing as my perfect job. It was through silversmithing that I came to do work as I do now. In 2008 the price of silver went through the roof, so I started looking at cheaper materials, but essentially I am still using the same skills.


| Kristen | Can you tell us a little bit about this series?

There were a few sheets of "stucco" aluminum lying around when I moved into my new space. The door of the loading bay is made from this material, so I though it had to have some application beyond the purely functional. I really liked the way it looked. It's a relatively cheap material and the rolled surface texture has some serious advantages in terms of finish and strength. It's quick and easy to work with, which is also appealing. The work presented here is the introduction of a new material to my process, and we will see where it leads.


| Kristen | Can you tell us about your creative process and how you start connecting for new projects?

The work I do isn't about "research" or "materiality" or any of the other popular terms used to describe process-led design. Coming from a crafts background means that when I read things like, "exploration into the landscape of tactile structure" I'm like "duh!" I work to satisfy my own need to make work. I have a number of skills and I enjoy using them, and each project is a loose reboot of the previous.

There is a domino effect in my work- one thing leads to another. I seldom use work to be brief, and my process is not very structured or focused. Typically when I'm in the workshop I have loud music on and I enjoy being in sync with what I'm doing. I use materials and tools at hand together with stuff I find. I rarely go out and buy specific components, as I prefer to solve issues with what is available to me in my space during the making. The work I produce is sometimes great and sometimes not, but I almost always enjoy making it. I see risk and failures as entirely integrated parts of my working strategy, which in the end is not a strategy at all, but is simply and allusion to my playing around in my workshop and doing the stuff I want to do.


Have a look at...