Featuring the work of six New Designers alumni, the graphics for New Designers 2016 emphasises the exhibiting designers as the most fundamental components of the show. Just like the show itself, the work of these six designers’ spans across the creative disciplines from textiles to typography. In the lead up to this year’s show, we interviewed these six designers as part of a series to share the stories behind their work and the unique journeys their thriving design careers have taken since exhibiting at New Designers.
For our first feature we spoke to Leah Jensen, a ceramicist who took part in the One Year On exhibition at New Designers 2015 after having presented her work alongside Falmouth University the previous year. In this interview Leah discusses the influence of New Designers on her career, post-graduate life and her ‘anti-digital’ clay and wood pieces.
How was your experience exhibiting in One Year On?
I had a really great experience. The show was curated by Rheanna Lingham who was so enthusiastic and helpful, she made it look amazing. I had expected it to be a little bit stressful setting the show up, but it all went so smoothly and was really fun! I was so impressed with the level of skill that surrounded me in all the other makers who were really lovely people too.
What advice would you give to those preparing for the 2016 show?
It may sound really obvious but make lists of everything you need to remember to do and everything you need to take to the show well in advance. It makes it really easy to take your time during the run-up to the show rather than have a mad dash the week before.
What drew you to use materials like clay and wood?
When studying Contemporary Crafts in Falmouth we experimented with any materials we could get our hands on, but I loved the fact that clay and wood can be manipulated with so quickly and easily. With these materials there is so much scope for experimentation and development, I have so many ideas I don’t have the time to try them all!
Talk us through the ‘mapping’ process. It creates a very unique end result. Could you see this method evolving to take inspiration from other artistic eras other than Renaissance?
The mapping process began when I happened to read an article discussing maths being introduced to painting in the 14th century; this was at the same time that I began carving. I not sure remember how I got the idea to map out the patterns; it just seemed like the logical next step somehow. I have put a little bit of thought on how to move this process forward, but it’s a technique that is so inspired by that era that I don’t think I can do it with another style of painting. I’ll just have to come up with a new idea!
Could you define ‘anti-digital’ and what it means for the work that you produce?
The first time I took part in New Designers I was surprised to discover that a lot of people I spoke to assumed my work was 3d printed. Instead of altering my work to show traces of the handmade I thought I would embrace it, try and make the work as clean an perfect as possible. I came up with the term anti-digital as a way to describe an aesthetic that appeared to be made using digital technology, but in actual fact is completely handmade.
How do you see your craft developing in a post-graduate environment?
I’m really enjoying putting more research into a collection of work, especially the paintings I use and their history, I have realised that depth in my work is important to me.
Have you had access to all the materials and facilities you require to make your work?
I recently relocated from Cornwall to London which has made things a lot easier; the year following graduation before I moved was really tough. I’m now part of a shared ceramic studio with all the equipment I need which is far better than a spider infested tiny shed!
What are you up to in your design career now? Do you have any exciting plans or projects you’d like to tell us about?
At the moment I’m very excited to be working on a new collection that will be exploring some different clay and carving variations. The vessels will also be much larger; I’m trying to really push this technique to its limits!
Keep up to date with Leah’s work on her website, twitter and instagram.