In conversation with Charlotte Kidger
Relay Design Projects sat down with designer & maker Charlotte Kidger to discuss her studio practice and her recent commission Turned Series produced for Relay. The series of 12 unique vessels are produced using reclaimed industrial waste which Kidger transforms into sculptural and functional objects ~ learn more at www.relaydesign.info/projects.
Turned Series by Charlotte Kidger for Relay Design Projects. Stylist - Robyn Philip, Photographer - Nona Duch
Your use of material processes to transform industrial waste into functional objects feels unique to you and your studio. How did you develop this way of working?
When I first started working with the polyurethane foam dust I was keen to find a way of using it without having to reprocess it through heat or chemical processes. During my Masters at Central St Martins I began experimenting with different binders to create a composite. I did lots of trials until I found a durable consistency that meant I could cast the materials into 3D forms. Casting also meant I could add colour to my pieces. Since graduating 2 years ago I have developed the material further. Changing the ratio of the material for different functions now means I have a much more versatility, both aesthetically and functionally.
Studio images photographed by Lewis Ronald.
The selection of colour is another important element in your work. The first detail you confirmed about this limited series was that it would definitely be chartreuse. What was it about this colour that prompted such a definitive decision?
I have been obsessed with chartreuse since specialising in print & surface pattern design early on in my studies. I have Helen Merrin, who was my tutor at the time, to thank - she introduced me to the colour from an article in Vogue and said it was my colour. Chartreuse was a dominant colour in my degree show and I continue to use it in my work but in subtle ways or as an accent. I’m not sure what it is about the colour but it just makes me really happy and has so many memories associated with it so I suppose I’ve been waiting for a chance to use it in a more dominant way. I hope the chartreuse tones in the Turned Series bring about a sense of joy and happiness when looking at them.
It is fascinating how a Vogue article on a colour had such a long-lasting effect on your practice. It highlights an interesting relation between the playfulness of your colour selections and solid forms of your work. Your forms have a real weight and architectural breadth - how did these develop?
I suppose I have always been influenced and inspired by architectural forms. During my BA in Print and Surface Design I looked to brutalist architecture for ideas around form and then interpreted the bold shapes into my work. My work back then wasn’t your traditional idea of print and surface design - I used to source materials often used in the marine industries (neoprene, ripstop, technical rubbers and PVC) then make compositions and re-work them with heat presses, laser cutters and lots of hand-dying. I suppose that style or way of thinking and handling materials is still very present in my work today - but now in 3D forms. I’m still very subconsciously influenced by brutalist and industrial architecture - I think it’s the boldness and simplicity that I can easily translate into my work allowing the materials and colours to come to the fore.
Studio images photographed by Lewis Ronald.
The forms in this series of vessels are totally different from your previous work, which is understandable as you used this commission to introduce the lathe into your studio. What prompted you to start working on the lathe?
I started thinking about different ways I could work with the material. I began looking at hand-building but soon learnt that wasn’t right for this project. I then had a discussion with a friend and fellow artist in my shared workshop and he suggested considering the lathe. I had never used one before and wasn’t really sure how my material would work on it or what shapes I could make. I was immediately excited by the thought of it as I knew I could cast 12 cylinders and then play with the forms after. Normally I have to decide on the forms before the casting as once the mould is made the form is finalised. This meant I could have one mould but an opportunity to change the form during the process.
I also really liked the idea of using new materials with traditional craft techniques and the fact I had never used a lathe before meant I got to learn a new skill as I was developing the series. I allowed the forms to come about organically as I was on the lathe - I worked slowly and worked out what was possible from each chisel as I was doing it. Although you could see the forms taking shape, you only get a true sense for how it looks once you take it off and stand it upright - I was always pleasantly surprised and didn’t want to stop with the series. Another exciting element was that I could re-use the shavings and dust from each piece - I’m either going to make a piece of work that symbolises the commission and has all the dust and shavings in or put it into my stockpile of dust for future projects.
Studio images photographed by Lewis Ronald.
It's wonderful to know that processes you developed through the commission will be continued and developed further - which is the idea of the Arcade Collection. What is next on the horizon for you?
In relation to using the lathe, I have ideas to incorporate some turned pieces into chunky table legs for side tables as well as some table lamps. I want to explore more forms and new colours. These new pieces will most likely come to fruition in the new year and launch during a group show with the Crafts Council Hothouse Alumni during London Craft Week in May.
Studio images photographed by Lewis Ronald.
Artist biography Charlotte Kidger
Charlotte Kidger is a London based UK Maker (b 1992). Kidger graduated from Leeds College of Art (2014) and Central Saint Martins (2018) and has a background in Colour and Material Design. Her practice is led with a hands-on approach to investigating how industrial waste materials can be reprocessed and transformed into sculptural and functional objects. As an experimental material-led designer her work is driven by the urge and curiosity to transform often unwanted and valueless materials into desirable and functional objects. Her studio based practice has seen the creation of an ecosystem set up around harvesting waste Polyurethane foam dust from CNC factories and utilising it as a secondary raw material for interior applications.
Kidger has had a successful two years since graduating from MA Material Futures in 2018 with group shows and private commissions from high end clients. Kidger’s first group show: Re.Use, Re.Think, Re.Imagine at Hauser & Wirth Somerset 2019 provided a platform to show practices that explored unique responses to materials and processes. Kidger’s work was also selected for Design Transfigured/ Waste Reimagined at Georgetown University Art Galleries 2019/20 which also focused on material and process specifically related to waste and up-cycling. In 2019 Kidger was selected for the Crafts Council Hothouse Programme. Most recent shows include being selected as one of the 24 designers to exhibit in the Curated Section at Collectible 2020, London Craft Week 300 Objects Exhibition and a group show with Informality Gallery in December 2020.
In 2018 Kidger was a finalist in the HIX Art Award, Creaftiga and Design Blok Prague, Diploma Selection: Product, where her work was recognised for utilising and repurposing waste materials. Her work then went on to be commissioned by clients including Selfridges, Converse, Adidas, Red Deer, Browns Fashion and COS.
About Relay Design Projects.
Founded by Neil Walsh and Richard Healy, Relay is a London-based sales agency, brand advisory and commissioning platform for new design. Since its establishment in 2009, Relay Design has sought to work with future-focussed companies & individuals engaged in sustainable manufacturing and design innovation.
Relay Design Projects is a commissioning platform showcasing limited edition and unique design works by leading artists & designers. The commissioning platform has a strong focus on experimentation, allowing artists & designers resources to produce work outside of their regular remit - be that through the use of new materials, processes, or formats. The only adherence to the invitation is that all pieces, be they an item of furniture, lighting, or an object, must have a perceivable function.
“In the current climate it is more important than ever to provide designers a space to experiment and develop their practise” - Neil Walsh, Relay Design Agency
Previous commissions include Attua Aparicio, HAHA Studio, Jochen Holz, Silo Studio and Robin Grasby/Altrock.
Relay Design Agency has been featured in Architectural Digest Pro (US), Design Milk (US), Dezeen (UK), Elle Decoration (UK/NL), Ideat (FR), Novembre (IT), Say Hi To (US), Sight Unseen (US) and Wallpaper (UK).