Future Heritage has once again delighted Decorex visitors with the breadth of talent in British design today. Showcasing 15 new makers working in a variety of different materials, the ‘show within a show’ revealed unique pieces on the Decorex theme of Collaboration by the designers, who pushed their creativity to the limits, to produce new and unexpected work.
The stand was curated by renowned applied arts and design critic and curator, Corinne Julius, who encouraged the designers to work alongside each other and with her, to produce innovative pieces. “I was thrilled with the results. We had an unprecedented number of visitors to the stand and, although the idea is to show the best of contemporary makers to encourage visitors to work with them on projects, in fact we sold work as soon as the show opened and continued to do so throughout the four days. Future Heritage has a proven track record in launching makers’ careers. This week Juliette Bigley sold one of the pieces she made for us last year to the V&A.”
David Marques, who has never before shown in the UK, outside his studio, sold his Cherry Blossom wall installation to a fellow exhibitor, and within an hour was commissioned by a Hong Kong customer to produce a second one. He also negotiated a commercial collaboration with an Indian client.” It’s been completely amazing and I have made a lot of contacts.”
David Gates and Helen Carnac sold their newest collaborative cabinet in wood and enamel complete with bowls as soon as it went on display. Adam Blencowe and Thor ter Kulve, who showed their elegant new brass and walnut shelving system alongside benches and rugs, are following up some very serious leads and sold their wall installation from the stand. “It has been a great experience, it pushed us to produce new work and has also helped us think a lot about the directions we are both working in.”
“Being curated within Decorex is unique because it pulls in so many clients who are very relevant for your work,” says furniture maker Richard Lowry, whose work stretches the limit of materiality in a 21 century context.
All the makers bar one, upped the scale of their work. Jewellery designer Naomi McIntosh made successful inroads into new interiors and design markets. Merel Karhof and Marc Trotereau of ShadeVolume, whose spectacular Forest of Light installation, including the four metre Totem rotating light, greeted visitors to Future Heritage, were inundated with enquiries.
Decorex is a catalyst for new work and confirms your credentials as a designer,” says Simon Hasan, who works in the territory between ancient craft processes and industrial design and produced new leather vessels for the show. Pia Wüstenberg also upped her game with two new 90cm high sculptural glass and metal centrepieces, along with her famous India Stacking Vessels.
Artist Zachary Eastwood-Bloom exploited digital technology to present extraordinary marble tables and tiles “I am overwhelmed by the response to my work,” he says. Ceramics were popular; Lauren Nauman sold a number of her ceramic vessels, Ilona Broeseliske’s hand-carved porcelain boxes were critically acclaimed and Matt Davis’ new tiles were well received with a potential new commission in Dubai. Perhaps the works that were the most unusual and attracted the most attention, were by experimental designer Marlene Huissoud. Her cabinets created from cocoons and bio resins, which perfumed the air on the stand and were the basis for a new range cast in pewter, were a constant talking point.
Future Heritage will return to Decorex International in 2018, presenting a new cohort of design talent for the 21st century.
For further information, please contact the Decorex team at Cultural-Agenda: firstname.lastname@example.org / +44 (0)20 7245 1066