As part of this new collection of work, entitled 'An Assembly,' I have collaborated with a group of artists, makers, and designers whose creative practices align with the sensibilities of House of Quinn.

'In attendance,' as part of 'An Assembly' (which also serves as a natural way to bring together like-minded creatives), I had the opportunity to catch up with the incredibly talented Chelsea Vivash and Amy Murrell of Chalk Path Studio, both of whom have created beautiful objects for the home in response to the new Collection.

Chelsea Vivash has crafted a unique and exclusive piece that plays with scale, shapes, and form, interpreting one of my drawings into a beautiful three-panel wooden screen for the collection. Chelsea merges our viewpoints and perspectives into an incredible furniture piece for the home .

Chalk Path Studio, led by Amy Murrell, presents an arrangement of organic, candle-lit forms that can be placed and rearranged at will. These forms reflect the innate and familiar act of foraging and collecting. Five chalk stones, arranged on a hand-printed cloth, offer an interactive and playful object, allowing viewers to arrange and rearrange the forms however they wish.

During our conversation, we explored their views on collaboration within the craft, design, and art community, delving into what it means to them. Additionally, we delved into their design practices and their perspectives on sustainability within their craft.

Chelsea Vivash - Studio views and process - making wooden marquetry collages.

Do you feel collaboration is important in the craft and design community?

Chelsea - “In my own experience as an independent artist, collaboration is extremely important as a means of sharing your own ideas with like-minded people. It helps to push the boundaries of your practice. When I'm alone in the studio, I don't have colleagues to provide feedback or conceptualize and develop projects, so collaboration is great for connecting and growing.

I like that because I work in the space between craft and design, other makers are often open to collaboration because, I think, of a shared interest in materiality. In terms of this collaboration, myself and House of Quinn have a shared eye for detail and texture, which results in different outcomes using different mediums, but together, the works are elevated and taken to a new level.
Amy - “Absolutely! The craft and design community are spaces that have allowed me to be and grow into myself as a designer, whether that’s through a passing conversation or working collaboratively with others. I couldn’t live without sharing ideas; it's a wonderful thing.”

What is your stance on craft and sustainability?

Chelsea - “I feel that it’s important to consider sustainability when designing decorative objects. I’m very aware that my pieces are luxury items, and therefore, I do my best to source sustainable materials, working with natural materials as much as possible. The veneers I use are mostly offcuts from larger manufacturing processes, so I’m making use of material that would otherwise go to waste.

I also hope that, just like House Of Quinn, the quality of these handmade products will ensure that they are treasured items that will last for years to come.”

Amy - “Sustainability is at the root of my practice. I create pieces that have a minimal impact on the Earth's limited resources. Making conscious decisions guides my practice; I use naturally found materials, recycled paper, low-energy forms of making like air drying, and use by-products like waste stone dust. Using naturally gathered materials allows for the beautifully unexpected and creates organic form and dimension in my work. I choose to make work sustainably to try and have a positive impact and give people the option to buy consciously crafted pieces for their homes.”

How do you begin to create one of your designs?

Chelsea - “I have a few ways of working. Sometimes (especially for commission work), I follow a brief and design accordingly. However, my favourite way of working is intuitively with the wood veneers. Each piece has completely unique properties, so I hand-select each piece, and sometimes I build whole compositions this way. That's why I got into marquetry in the first place because I'm obsessed with the details of wood grain.”

Amy - My creative process always starts with a walk along the coast, gathering, observing, and just being within the landscape. I’m deliberately slow with my processes, and the work itself is slow. Each stage of my making takes time; nothing happens quickly in my studio! I also allow design ideas to sit with me, try things out, discard things, and start again until I’m happy with where it’s headed. I’m quite free with my techniques, as I often use a trial-and-error approach to making something new because this is what excites me the most.