Power moves: furniture designer Mac Collins on making a statement
Ahead of the opening of Maker’s Eye, the rising star tells us why his chair is designed to make you feel confident and in control
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Furniture designer and maker Mac Collins. Photo courtesy the artist
The debut exhibition at the new Crafts Council Gallery features the largest ever selection of artworks from the Crafts Council Collection – alongside an edit of exciting objects by up-and-coming craftspeople. Ahead of Maker’s Eye: Stories of Craft (7 July to 9 October 2021), the rising star of furniture design Mac Collins tells us about his already-iconic chair, how good design can be empowering, and the best advice he ever received.
Can you tell us about the piece in the Maker’s Eye exhibition?
Co-curator Christine Checinska chose the original blue edition of my Iklwa Chair. It was my breakout piece in 2018 and got picked up by Benchmark furniture. Since then, I’ve wanted to demonstrate what else I’m capable of, but it’s lovely to have it selected for this show. It’s a piece that will probably be important to me forever.
Why does it mean so much to you?
It came out of my undergraduate dissertation on the roles and responsibilities of Black artists during the Civil Rights Movement compared to today. I’d never examined the Afro-Caribbean side of my heritage. I tried to trace my family’s roots, but couldn’t go past the point of slavery – there were no records. Thinking about these humans being owned by others made me feel powerless and small. So, I created this big, bold chair that would make anyone seated on it feel confident and in control.
What is the meaning behind the Iklwa Chair’s name?
The word 'Iklwa' came from the name for the short spear used by the Zulu while opposing British colonialism in Southern Africa. These Iklwa spears informed the shape of the armrests that pierce through the backrest to protect the sitter.
“I created this big, bold chair that would make anyone seated on it feel confident and in control.”
What inspired its design?
For the original Iklwa chair, I intended the piece to visually dominate its environment. The vivid ultramarine colour allowed the object to do this. The blue was also inspired by the colour of the suit my grandad wore the day he arrived to the UK; he was part of the Windrush Generation. For my later collection with Benchmark, we had agreed to include a colourful iteration of the chair. An earthy orange – almost on the opposite side of the colour spectrum to the blue – seemed a good colour to move forward with.
Is sustainability a big concern in your practise, and if so, how does this manifest?
With the climate crisis that we are currently living through, sustainability is most definitely a concern in my work and wider life. I am beginning to understand more about the materials I use, and how best to source these materials with responsibility and accountability.
If harvested in a conscious way that ensures the biodiversity and rejuvenation of the woodland, timber can be a sustainable material. Working predominantly with wood, I hope to create narrative-rich objects that might foster a significant and lasting bond between owner and artefact. I aim to design and make furniture that may outlive its owners – becoming heirlooms that can trap carbon for many decades before returning to the earth.
What are you working on now?
Over the past year, I often couldn’t access the workshops at Northumbria University, where I’m doing a residency, so I focused on design. I used to be determined about being a craftsperson over a designer, but balancing the two has been great. I’ve just completed designing bowls for the Finnish company Vaarnii, helping them to give sustainably farmed pine wood a new image. Wallpaper* magazine and the American Hardwood Export Council chose me to take part in the Discovered exhibition at the Design Museum this autumn, so I’m now working towards that.
What would be your dream project?
In the future, I would be very interested in working on some larger scale installations and pavilions. This scale would allow me to consider how the forms are interacted with, and what the impact might be on the individuals experiencing the work.
Finally, what’s the best piece of advice you’ve ever been given?
To take time when contemplating potential collaborators, and to not be afraid to turn down projects and offers.
‘Maker’s Eye: Stories of Craft’ opens on 7 July at the new Crafts Council Gallery – book a free ticket to visit. A version of this interview first appeared in Crafts' issue 289.
