studio HENRY WILSON

Balance and harmony are achieved through a complimentary state of tension and resting equilibrium between opposing forces. The tension between concept and materiality is something that perpetually inspires us at OIGÅLL PROJECTS, often resulting in the emergence of inherent dialogues within works, with the audience and of course between artists themselves. This convergence of artists and their respective practices informs the genesis of our latest show “Objects of Futility”, which features the work of Sydney-based designer Henry Wilson and Japanese-born artist Makiko Ryujin.

For years, Studio HENRY WILSON has crafted objects that harmonise form and function. In this collection, however, the studio pauses this ethos, embracing design methodology as an art medium that speaks in textures and silhouettes rather than utility. A series of wall based reliefs, forms and sculptural objects, conceptually derived but industrially fabricated are offered not as solutions to life but rather objects of total desire.

The tension between these practices, with both Wilson and Ryujin approaching making work through their own unique perspectives and experience, finds resolution in a shared pursuit; exploring the poetic potential of materials and transcending the conventional, functional role of objects. Through their conceptual exploration of materials and forms, both seek to elevate our desire, affection and seemingly random affinity for the objects we surround ourselves with to an equal - if not greater - value than those of mere utility.

Gravity and Grace

A white alabaster stool for upcoming design exhibition by galerie philia, held in New York City from 9-13 November.

A group show titled Design House at Melbourne Design Week 2023, presented by Fitzroy-based Oigåll Projects in their newly restored Gertrude Street space. Oigåll described the show as “a celebration of conceptual design in context, with functional art performing its function.” It featured pieces from Laker Studio and Studio Henry Wilson alongside the work of others in Oigåll’s design circle.

This is a departure from my usual work in lighting – a study in light and reflection from cast surfaces, constructed using aluminium tiles. I have always liked the way light plays off different textures; these forms are designed to capture and reflect ambient light, both individually and collectively.

For Galerie Philia’s exhibition at Milan Salone 23, I have responded to the theme of “Desacralized” by creating a lamp that reprises and simplifies the form of an altar.

Topped with a floating plane of thin, translucent white stone, it also suggests a Japanese temple light.

This is not a sacred object; however, it expresses an enquiry into sacrality. What constitutes a sacred object: the intention of its maker, and/or its form, materiality, usage, placement, stewardship?

Can any object acquire or embody sacrality?

Where do the boundaries of the sacred lie, and is there latitude for ambiguity?

Can a piece (or space) once regarded as sacred be desacralized irrevocably? And ultimately, why do we seek, bestow or rescind sacrality?

Ace Hotel Sydney was designed by Melbourne-based Flack Studio, with Fiona Lynch Office the architect for its rooftop restaurant, Kiln – which features our Scoop wall light in customised configurations. I also designed a custom hook that is fitted throughout the hotel, in all guest rooms and common areas.

Stanislava Pinchuk & Henry Wilson

A reaction to Australia’s summer of bushfires in 2020, prospects of increased water scarcity and the deepening concerns of the global climate emergency, Mostra presents a civic water fountain tiered for access by various wildlife and humans. Access points cater to possum and birds, to domestic pets, reptiles – as well as a safe landing pad for insects on its top, inspired by my vernacular fountains for my bee-hives on hot and smoky days.

Mostra was carved from a single piece of sandstone, re-purposed from a construction site on Gadigal land, located right by the Museum itself.

(August 2020 – February 2021)

Laker began as a series of conversations between two friends, David Caon and Henry Wilson. With different approaches to the business of design, Caon and Wilson found common ground in the objects they are drawn to and the design philosophies they share. Over time, those conversations took the shape of tangible products that continue to evolve through necessity, following what could be described as a common-sense brief.

Ultimately, Laker is a reflection of the discoveries of its founders and the spectrum of experience informing their work—Caon, an industrial designer with a background in large-scale commercial projects, and Wilson, a furniture and industrial designer exploring the juncture between the rational and emotional.

Laker combines intelligent, sustainable design with a respect for the impermanence of contemporary living. The thinking here is that good design should incorporate the changing needs and environments of its user, and that products should be made to last, rather than to be replaced.

The underlying logic is to solve the problems that matter to Caon and Wilson. This philosophy brings sincerity to the creative process while also maximising the opportunity for experimentation and improvisation. A product is never complete without a stint in a working studio or working home, a litmus test for validity conducted by the designers and their friends.

Learn more about Laker studio here and David Caon here

Designed as a refined alternative to traditional oil burners, this object was the first offer in the homeware range of the skin care brand Aesop. From concept through to manufacture, I spent more than five years honing its form.

A light display in collaboration with Aesop, installed in the company’s Brera, Milan store, as part of Salone del Mobile 2017. Designed by Vincenzo di Cotiis, this space was the first international setting for our Fold and Spot Lights, and Surface Sconce.

As with our design for Aesop Balmain, this interior was guided by the features of its locale, which is characterised by leafy streets and modest Federation, Queen Anne and Victorian-era houses. To effect a warm domesticity, we used oiled native tallowwood flooring, shelving and cabinetry, balanced and contrasted by raw brass fixtures. 

The spirit that guided the design of this space, originally a nineteenth-century bakery, was an intention to source as many materials as possible from industrial suppliers and to repurpose them in complement to convict-laid raw sandstone walls. Customised steel shelving and componentry became key to extending the subdued natural palette and instilling a sense of calm and welcome.

A-Joint is an award winning, multi-use joinery system. The A-joint family is in production and available at Laker.studio