Planet Furniture began in Melbourne in 1992 with a very simple concept to make the world a more beautiful place. My original plan was to design furniture and have others build it. I quickly found that without understanding the craft process and complex limitations of the material, it would be impossible to become a designer, so I began to make furniture rather than study in a formal institution.

Working for six years in Melbourne, I taught myself along the way, with books, magazines, occasional short courses and lots of opinions from other designer-makers in shared workshops. It is quite amazing that I still have all my fingers.

This background has given me a unique perspective on both sides of the retail situation. I enjoyed the process of making, but always planned to return to the original design plan. On returning to Sydney, and opening a showroom in Surry Hills in 1998, I thought it would work well to show the work of other Australian designer-makers in room settings. During my time in Melbourne I developed a network of associations with other craft practitioners via shared workshops, group exhibitions and support organisations and the camaraderie of just being poor.

It seemed logical that if clients saw work set up in situ, they could attempt braver things themselves and the contrast of different items would highlight their unique features. Besides, I wanted to support the great work of my friends.

My original concepts for furniture came from a simple desire to make objects that improve the world. I did not want to make objects to alienate, or shock or to fit in with fashion cycles. They must be objects made from pure raw materials sourced responsibly, made with care to last for a long time and made beautiful with the expression of the maker revealed. They should be objects made with ultimate standards in mind, rather than being market-driven, so they must be original and with pure intent. These standards are the same criteria that I apply to selection of other people’s work for the showroom.

My interest in ceramics has grown in recent times, as I have learned a little about materials and processes, largely due to information sharing with ceramists and clients. At Planet Furniture we are trying to reclaim the essence of craft and to highlight artisan expression, without compromise. Essentially we show functional ceramics, although layers of meaning and labour-intensive processes are part of the equation. We have a range of work from production items intended for daily use, to labour-intensive one-off pieces involving complex processes. Regularly our ceramists win awards, exhibit around Australia and internationally and, occasionally even in fine art circles. We are always on the lookout for ceramists who share our philosophy and level of standards. Increasingly we are becoming a venue for collectors to browse alongside shoppers looking for a special gift, alongside students seeing the latest work, alongside yuppies just indulging themselves. To me these clients are equally important. I am pleased that we have a venue where makers can show and sell work that is about personal expression and technical skill, and where subtle layers of meaning can make artistic statements that enhance the functional nature of objects. I am also pleased that we have a venue that is human and approachable.

The general public tends to agree. The cross-over of many homeware items means that clients visit for many reasons. We have furniture, textiles, glass, paper and many other home items from makers and designers around Australia. Clients may be intending to purchase a bed, end up with a pot and vice versa, or even purchase both. People love the stories behind the work and many clients who would not call themselves gallery visitors feel comfortable in our store. Media promotion is very common and we happily service a wide cross-section of the press, from supermarket magazines and tabloid papers and cable TV shows, up to high-end specialty industry and glossy magazines.

We have exhibitions from time to time, with our first ceramics show planned for early 2002. Besides all this policy stuff, I find that the ceramic medium hits you on a gut level. The technical ability to change earth to a different form,combined with the science of glaze formulation, and the unknown quantity of uncontrollable variations in conditions is a fascinating mix. Beyond all this I feel that of all the craft mediums, we get such a strong immediate sense of personalities behind ceramic work. I admire the ability of makers to bare their souls to an unknown audience in such a public way and this thrills my soul. Ceramics too can make the world a more beautiful place.