CRAFTS COUNCIL ONE TO WATCH: MATTHEW DUCKWORTH
We speak to furniture maker and hothouse17 maker Matthew Duckworth
Working predominantly in wood, Matthew designs and makes small batch runs of studio pieces as well as working to commission on bespoke furniture. Passionate about using locally sourced native British timbers, he combines traditional and modern techniques to create furniture that is at the same time elegant, tactile and functional.
Matthew has been selected for Hothouse, the Crafts Council's Talent Development Programme for emerging makers. Find out more about Hothouse
What first got you interested in making?
I’ve been making in one way or another for as long as I can remember. Growing up on the family farm in the Yorkshire Dales, I was always out in the fields and woods building dens and tree houses.
We had a workshop on the farm and even with my limited woodworking knowledge I was always making something from scratch, or taking things apart and rebuilding them. After leaving college I worked as a stone mason for several years before making the decision to retrain as a fine furniture maker. This seemed to be a natural progression for me.
MATT DUCKWORTH PORTRAIT
What in particular drew you to wood?
I’ve worked with wood all my life, from whittling bow and arrows with a pen knife as a kid to the crude furniture I made before retraining. It’s such an amazingly versatile material, with each species holding different properties and characteristics. It’s always exciting to take a rough sawn board and expose the grain to see what I've got to work with.
Which project are you most proud of so far and why?
There was definitely something exciting about the whole process of crafting the Mallard desk. Although at first glance it looks elegantly simple, a closer look reveals some quite complex geometry. The compound curves and competing angles forming the flowing lines of each leg, for example, made it a challenging piece to build and it really pushed me.
In terms of current projects, I’m working on a rocking chair using the relatively new technique of freeform lamination, which allows me to create seemingly impossible organic forms. With the main body of the chair made from one continuous, twisting component it will be my most ambitious piece to date.
What do you hope to get from Hothouse?
I feel privileged to be part of the Hothouse program and it is great to meet other creatives from all disciplines at the same place in their careers. I hope Hothouse will help me not only to build my network and develop new skills, but also to develop ideas through collaborations and open opportunities to push my work in new directions.
Why do you think it’s important to use locally sourced timber in your work?
It's important for me to know where my wood comes from and I firmly believe that the history of the tree is part of the story of the finished piece. I work with a few small local sawmills who source their timber from managed woodland and trees that are either storm damaged or have come to the end of their growing cycle. Buying from them I know the timber has come from a sustainable source, and is often milled on sight, reducing the carbon footprint. It also allows me greater control over the selection of my timber, ensuring that I’m able to choose pieces of exactly the right colour and grain pattern to complement perfectly the design of each piece.
MATTHEW DUCKWORTH, BEDFORD BURR TABLE. PHOTO: MATTHEW DUCKWORTH FURNITURE
What’s your favourite British timber to work with and why?
I couldn’t name one single species, since they all have different pro and cons, but I most enjoy working with the fruit woods such as cherry, pear, plum and apple. The colours are amazing, from deep pinks and vibrant purples through to more subtle greens and golden browns. They are a joy to work and come off the tool almost polished, while giving off a beautiful sweet scent and have a natural lustre that lend an element of luxury to every piece.
How does your process differ between commissioned and studio work? Do you have a preference and if so why?
Working to commission can be more challenging but at the same time incredibly rewarding. I work closely with the client and involve them throughout the whole process, creating a piece that not only satisfies their brief, but hopefully exceeds their expectation as well. This journey with the client provides them with a piece that is truly unique and most importantly personal to them. Working on studio pieces is definitely the easier of the two. It allows the freedom to experiment and evolve the design without the limitations of a brief.
Who or what are your furniture influences?
I live on the North Devon coast, which is undoubtedly stunning, and it's the changes in weather, especially the storms, and the ever changing nature of that landscape that I find influential. The movement, whether it be the wind in the trees or a storm-driven sea, is what I hope to convey in the curves within my work. Having said that, a lot of the final shape of any piece is determined directly by the nature of the wood. Very often I have a particular design in mind, but when it comes to cutting or shaping, you sometimes need to let the wood do the talking, and simply follow its lead.
