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| Fred Baier |
| The driving force in my furniture creating career is to explore and expand the envelope of possibility. There always has to be a pay off in every project I undertake which adds to my knowledge or understanding or abilities within my field. |
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| Clive Dinmore |
| My interest is in identity, individual, group identity, and the point at which we move from inside ourselves, to the world where we are judged. and in the reassurances of products we continually need to support the mask. |
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| Rachel Hutchinson |
| I design furniture that features soft strong lines; the best quality materials; excellent craftsmanship and attention to every detail for aesthetic and functional grace. I offer a contemporary, minimalist aesthetic combined with the natural beauty of materials and a celebration of craftsmanship. The end result is a collection of work that inspires and satisfies, delights and tempts. |
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| Brian Moxom |
| Brian's work is inspired by geometry - from that of natural structures and the human body through to that of industrial architecture. He creates clean, deceptively simple forms which invite you within to reveal so much more. Committed to functionality and fine quality he applies traditional woodworking skills and techniques to bring innovative contemporary design ideas to life. |
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| Gareth Neal |
| Within my work I am continually exploring the places that are just out of reach: below the skin, beneath the sea and outer space. Developing themes through observations in science and nature, I use fluid movement and repetition to produce decorative and sculptural forms. |
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| David Oldfield |
| Contributing to the world of three dimensions is a fascinating and worthwhile pursuit. Ambition, enthusiasm and conviction are all part of the amalgam required when taking up the challenge of a new commission. An admiration of romantic classicism of line and form is sometimes reflected in my work but I do not feel bound by it. Stance, whimsy and humour can all be indulged when striving to create a new piece. Creativity is a precarious world of head, heart and hands, which I feel privileged to be part of and an expensive liberty that I will always afford. |
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| Magnus Scholefield |
| I am a self-taught woodworker. My introduction to furniture making was with green wood using only traditional tools and techniques. This is where my love of native broad-leaved timber comes from. A natural curiosity has also led me to explore other materials such as stone, copper and lead. The best thing about being a designer-maker is realising the idea, getting a design from paper to a useable piece. |
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| Hugh Scriven |
| I like to think of myself as a designer-maker solving practical problems, but there is more to it than that. There is my enjoyment in producing a piece of work and I hope a twinge of pleasure for the viewer/user as well. So I play with structure and with colour, and sometimes the object has no useful function at all. |
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| Julie Starks |
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I am fascinated by the "small worlds" which surround us. From studying everyday plant-forms I produce artwork that aims to evoke a sense of the living vibrancy of vital parts of an ecosystem that often pass us by. The photographs on display detail plant samples which I have collected, prepared and then photographed using a compound light microscope at the Bath University. The intensity of the cellular landscapes I saw drew me into a world of beauty and fragility, of which I am excited to share with you. |
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| Michael Wainwright |
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As with fine art the articulate communication of a feeling or an idea is my objective rather than the furniture designers intention of making users feel good about themselves. I'm interested in strange beauty rather than instant or mainstream appeal. The living room need not be merely a mirror of self-congratulation and comfort but can be a playground of wonderful and frightening possibility. |
| www.michaelwainwright.co.uk |
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