The Mozart Orchestra is a chamber orchestra based in Auckland, New Zealand and they were after some new string players. I wanted a headline that would get the viewer's interest . . . as if Mozart himself was making the request.
That's me on the left and my good friend Mark. We had a number of collaborative projects we were working on together under the REHD brand and it seemed like an opportunity to be a little creative with our identity. Mark had come up with the name earlier, the acronym of 'Research, Education, Humanities and Design'. My task was to work on the visual component. I started to think about the colour red, industry and hammers . . . it was all taking on a very Russian flavour and we were loving it.
AUTO MOSSA are manufacturers of high speed doors and the challenge was to craft an identity that was interesting, memorable and that viewers would say 'I really like that!'. A key moment was adding the eagle – suddenly the logo had a central focus. Historically an eagle is a very powerful image but you can't be afraid to place it in a new context. If viewers can be carried along with the romance of the name and iconography that's success.
The Otti table project is a collaboration between Mark Brunton and myself from our studio in Devonport, New Zealand. We wanted to create flat-packable tables that were of a very high quality, and with beautiful minimalist connecting components. The brackets and bolts hold the top and the legs together; working in a structural, engineered way.
I designed this in New Zealand and subsequently showed it to IDÉE who submitted it as part of a proposal for Toyo Ito's Sendai Mediatheque.
I first exhibited the Gogo chairs at the Tokyo Designer's Block at the invitation of IDÉE's Teruo Kurosaki, and then in Milan where the prototypes were bought by the Tools Gallery in Paris. The first Gogo chair produced was then aquired by French interior designer Frédéric Méchiche and appears in a number of publications, pictured in the bedroom of his Saint Tropez home.
I very much like mechanical watches. You know that even if they are left for years they will still work when they are wound. They reward you with the satisfying clicking of the ratchet in the daily winding ritual, and you know that for your efforts you will be deliverered with precise time.
Buried deep within the cone is a light. The work is lycra stretched over a metal frame. I pictured the work being on a stage in a theatrical setting.
A series of three videos I shot and edited from sites in New Zealand and Australia for AUTO MOSSA and PENSA.
I think drawings can often express ideas and possibilities that are even beyond the finished piece. Here I used a mix of line work, photocopies, coloured ink and shoe polish that I applied with my finger.