British by birth, designer Sarah Colson set up her workshop just 4 years ago to make her dream of making extraordinary everyday objects a reality. She sought to change the perception of normal everyday household objects and to elevate the apparent potential of numerous pieces and their materials to a higher category in which, more than any other value, their innate natural beauty prevails.
Her creative and research work has sometimes led her to dive into the components that are part of the different materials, and to discover all the hidden possibilities they contain. She also loves to work with different artisans around the world to discover their own work processes and to use these moments of shared creativity as opportunities to absorb all their knowledge, to later apply them to her more personal industrial processes.
This is the starting point from which her glass projects and pieces, mostly lamps and vases, have managed to attract media attention. A contemporary and updated design of common forms, but with an added touch to make them different, for which she has received several international awards.
1. How you came to the lamps world?
I came to the lighting world as historically, I have always created sculptural objects with little purpose. I found that when I was challenged to create a pendant light, all of my experiments and playfulness with materials came into play. Lighting gave my sculptures purpose, a sort of set of rules if you like to design by. I am not am technical designer, but more of a designer that is lead by materials, form and textures. This is how I design and generally speaking what leads me to my final designs.
2. Which are the main features that identify your work? Is it possible to summarize them into three representative key concepts?
I think my work is feminine, elegant and timeless. I don’t really see them all fitting together, but more coming from the same place…me. I always follow 3 easy concepts; form, texture and colour. Each products doesn’t always scream these concepts, but when I’m reviewing them in the design stages I analyze when I have implemented these concepts.
3. Do you have a well-tested method which you always use or each project you develop becomes a new experience?
I would love to say that I have a very clear design process, but sadly I don’t. I work very much on instinct, which sometimes leads to a very timely process.
4. How do you organise the creative process that leads to the definition of your projects? ?
I have a lot of strange, often quite ugly 3D sketches that went wrong or will be resolved at a later date hanging around the studio, it’s a very private place that I don’t really enjoy showing people.
5. ¿How do those ideas become objects?
My ideas come from everywhere, but they mainly come when I’m feeling relaxed or in the mood to be creative. I find that if I’m stressed, then the work looks forced. I sketch a lot of things out to move through ideas quickly, I like to do this on the London underground. Then if I find an idea I like I try making something that resembles this. And this is when the journey really begins for me.
6. Your designs has a lot of craftsmanship work. Do you think is a extra value for every project?
I think craft offers any object an elevation in value. The fact that someone has made it by hand and not pushed a button to make it by machine, connects the consumer more emotionally to the object. Therefore even when I produce a lamp and have it produced over 100 times each one is slightly different. Each one embodies it’s own personality, creating life in an interior environment.
7. Ecology, sustainability and a good manage of resources.., are these priorities in all your project?
They are priorties and they certainly come into play when I design. My studio is very small and I utilise the resorses that surrond me. I found that the futher away you are from the people who you work with the more that there is to be lost in translation. I enjoy working alongside people and making them be as much a part of the design process as possible.
8 What was the most difficult to sell yourselfves as producers of your own designs? ?
It gets easier the longer you are in business, but I have to say that it’s hard to compete. Many people compliment me on my designs, but due to the ways in which I work it’s hard to afford them. I cannot compete with the big companies and therefore it’s the quality of the products, the creative freedom I have and the brand (my name), which mobilizes their sales.
9. Do you prefert to work by custom or for your owns designs?
My favoriate type of project is when I get to work with the customer, but using my designs. Something like a large instaltion or a chandalier using my glass parts but for a special location. These type of projects alow me to understand what the client is looking for, help them create a vision and then I get to create it for them. These projects oftern take a lot of energy, but I’m always please and so too is the client in the end.
10. Who is the next in your projects?
2019 looks exciting at the moment. I hoping to have the GRID collection ready for sale by March/ April. I’m in talks with some other brands to do another collaboration with. I have a few big commissions going in to clients homes. And I’m getting married this yearJ All a very exciting 2019 indeed.
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