Exploring possible seating scenarios that challenge the function of a seat and aim to generate something new or unexpected.



The process of dismantling, altering and then reconstructing was how each piece developed. Using material and objects around me meant I created a subtle tone of voice between these objects, through the unity of similar materials. This process of tinkering is so important for me when imagining possibilities within objects and ideas. Out of the four works, the office chair is, in my opinion, the most compelling. Its the new form is simple, clever and uncanny. What I find more interesting is the positioning of the office chair - in the publication, I choose two views, the side and front. But not only did I present two views of the object, I did so using two images of each view, one with the seat on, one without. This may not have been needed, and maybe just the two views would have been sufficient enough, however, I wanted to subtly invite the viewer to understand the process behind how this alteration was done. If I was to have only shown the side and front view, with the seat attached, it may have created more impact on the viewer, not giving away the process, but again I find it interesting when loking back on certain choices like this. 

Continuing this exploration of material properties and reassignment of purpose is something that I will continue to develop because it's a great prototyping and rationalising method. However, I'm excited to explore these ideas using other mediums, such as casting. Almost every material I work with deems my sculptural furniture useless in terms of being something you can actually sit on. Learning the process of casting, or finding a manufacturer to work with, could give me the ability to transform these fragile structures into objects of strength and stability - Rolling Hills for example. It looks so fragile, and is - but if I was able to replicate this form and narratuve into another material, it would make for a really interesting product.