INTERVIEW

Stuart Haygarth

Biography

Since 2004, Stuart Haygarth has worked on design projects that revolve around collections of objects. These objects are normally gathered in large quantities, then categorized and assembled in a way that transforms their meaning. Haygarth’s work is about giving banal and overlooked objects a new significance, with the finished pieces of work taking various forms such as chandeliers, installations, functional and sculptural objects.

Interview

How do you initiate projects?

My projects are generally initiated by finding existing everyday and banal objects that inspire me. My immediate interest in the object is driven by its aesthetic quality, function, narrative, and perhaps where it was found. Only after a period of time with these objects does the concept grow and a piece of work evolve.

What research methods do you employ?

Once my concept and idea is finalized in my sketchbook, I normally try to find visual reference through books and Google images. However, the majority of my research is given towards how my work is physically put together. The scale of the work is calculated by building scale models, and much time is spent finding materials and products on the Internet. Also, depending on what kind of piece I’m working on, I spend a lot of time sourcing found objects from car boot sales[flea markets], markets, and specific beaches.

What is different about your personal design process?

I only have my personal design process. Obviously, with work that is commissioned for public spaces there are factors and restraints that have to be taken into consideration during the creative process. I really operate in the same way as an artist.

What is important in the early stages of the design process?

To let an idea settle for a period of time in a sketchbook and come back to it at a later stage. If the idea still excites you then it is probably worth pursuing.

Tail Light (Fat), 2007, was created from carefully selected vehicle light lenses. The lenses are grouped by style and size and attached to acrylic boxes to form robotic structures. These are hung from the ceiling and illuminated by one 60w fluorescent white tube. Illuminated, they are reminiscent of stained glass.

Raft (Dogs), 2009, consists of a pyramid of cat or dog figurines sourced from thrift stores under a mushroom umbrella, creating an enchanting object out of previously considered valueless kitsch.

Aladdin (Amber), 2006, is a wonderful example of how Haygarth finds beauty in everyday discarded items, challenging perceived notions of what design finds precious and beautiful.