Story: Philippe Brooks Photo: David Trubridge
At first glance it is somewhat difficult to give New Zealand-based David Trubridge a title, as his work crosses and seamlessly melds the categories of artist, designer, craftsman and even teacher.
On completion of a degree in the UK studying naval architecture, David went on to renovate an old stone cottage. Once this was done David and his wife felt compelled to obey their wanderlust and a sailing boat was purchased. A slow sail south with protracted stops in the Caribbean and Pacific ensued before arriving in New Zealand (ct'd below).
Below: A recent video made by the ANZ bank featuring David Trubridge
David Trubridge. Taking great strides with a delicate footprint. from David Trubridge Design on Vimeo.
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Looking at the thirty year voyage of David’s career one sees a lot of early experimental work that enabled him to find his direction with materials and techniques, as well as the concepts and ideas that he wished to explore.
Commentators on David’s work often hark back to the inspiration of his nautical beginnings and whilst this may be so, if one looks a little deeper I would suggest it is more about patterns, rhythms and the small changes of a gracefully repeating line. It is about the ripples that gently radiate, about the undulations left in the sand as lapping water recedes. David is not necessarily coming back to his sailing origins but rather to the lure that entrapped him before this. To a maritime essence.
Below: David Trubridge, Flaxlight
There is considerable debate in the design world at present about designers creating ‘fluff’, that is products that are repackaged to sell more, products that are not actually improved but simply replace themselves each year due primarily to commercial dictates. Celebrity designers
are being criticised for losing sight of their primary role, one that is more akin to inventors rather than fashion mongers. Indeed the terms designer and inventor were once close to synonymous, and their role was ostensibly to improve the lot of man by improving the function of the items we have around us.
It is argued that a heightened aesthetic appeal is indeed an improvement and studies have revealed that the more visually appealing an object the more often it is likely to be used. In fact beautiful items that function poorly may still be deemed desirable as users will tend to compensate for them. But if these aspects predominate we start to slide more into fashion, viewing objects as being disposable and short term.
For me one of the most poignant statements David has made was during a visit to Iceland to talk to students about the concept of sustainable whaling. He then went on to present designs that encapsulated this at the Stockholm design fair. The outcome was that it was the message that mattered, the physical product was not needed. This is where design separates from the object and becomes a valuable process that can elicit a change in perceptions. As a designer I think this is fantastic, it takes a good degree of detachment and discipline to not lose sight of the essence of producing, to see the process from a world perspective rather than an all-consuming personal one.
Kina
Does the world need more stuff? China is certainly fuelling a level of consumerism that is becoming rampant. For the Western world I would hope that the answer is no, we do not need to constantly refresh our physical world with more possessions. We in Australia are culturally young, possibly taking after America in our cultural leanings. Europe is a different model however that we can consider, one where there is a tendency to buy less but of a higher quality, to invest a little more of ourself into a purchase. I would suggest that as a culture becomes affluent the initial objectives are to acquire, but then it’s about quality and developing aesthetic sensibilities that engender more thoughtful purchasing.
David’s work talks about a purity of thought, of materials and construction. It’s not about fashion, it is not about filling a room with furniture, it’s about the enjoyment of living with something with grace, something that is timeless and ultimately lifts the spirit. Through restrained simplicity David’s work encompasses a grace that is apart from the transitory nature of prevailing fashions.
David melds the composite parts of design and creation well. He has a holistic approach to the design of an object, so that it’s not solely the piece but its inspiration and its impact on the environment that is discussed. David is acutely aware of the effect we are having on our planet and particularly so in his role as a producer of objects. There is a rigour with which he conceives and produces work. Lounges such as Sling, Raft and Smile are all made with sustainable plantation timbers, and the hardware is often stainless and rallies against our throwaway society. Sometimes he chooses not to apply a finish to his work, but when he does he specifies those that are environmentally sympathetic.
Nananu
Another aspect of sustainability and indeed the future of design is his embracing of technologies. CNC machining not only delivers efficiency of time but also best usage of materials. Interestingly David is currently marketing seating and lighting ranges to Europe and the USA, using both the newest and the oldest (steam bending) fabrication techniques.
More traditionally based designer/craftspeople balk at the use of computers—the cost, the learning curve and so on. It is however gratifying to see a maker who views this newer technology in the same vein as any other tool be it plane, power tool or drawing board—together they are an arsenal that combine to produce the artist’s desire, and it is this that is of the greatest import.
David Trubridge has grasped the true role of an artist, seeing beauty in the everyday, isolating it and reintroducing it back into our lives, giving it a heightened meaning and perhaps a changed context. It takes us as viewers to new levels of appreciation, to a place where we can see, digest and understand something we had not previously seen.
This profile of David Trubridge was first published in Australian Wood Review issue 56, September 2007
More information about David Trubridge at www.davidtrubridge.com
To learn more about Philippe Brooks see philippebrooksdesign.com