SEA CREATURE

Fascination with boats and the sea shines through in the maritime aesthetic of Nick Randall’s furniture

A lifelong fascination with boats and the ocean has had a strong influence on Nick Randall’s furniture designs. The Hobart-based furniture maker works largely in Tasmanian native timber and the maritime influence is obvious in the flowing curves and boat-like forms of his work.

A fine example of his style is on display at the Handmark Gallery as part of the current New Furniture design exhibition.

Randall studied furniture making at the UTAS Fine Arts School, graduating in 2004 and honing his craft ever since.

“I’ve always had a passion for the marine environment,” he says. “It’s part of growing up in Tassie, I think – life on the island with the ocean and waves – and I love yachts, too.

“I use various boatbuilding techniques in my work to create that form. A few years ago I even did some research into boat building and built a dinghy to try the techniques out for myself.

“Then I adapted them for making furniture. I find boatbuilding techniques are often the best for creating those curvaceous forms in timber that I like so much.”

The majority of the work Randall produces from his Hobart studio is commissioned: some of it public art, some of it custom furniture, with some exhibition pieces here and there.

He says he prefers to do a small volume of high-quality work, keeping each piece different and interesting, rather than trying to create a larger volume.

“The quantities of timber I require are quite small. As a result, it makes them much easier to source and I can get really high-quality timber,” Randall says.

“I did some research into strip planking, which is a boatbuilding technique. I laid a series of timber strips over a mould I created, then reinforced it with carbon fibre internally for strength, creating that boat shape. I’m also really into using digital technology alongside more traditional construction.

“Some of my designs are quite complex forms and I use computer-aided design to create the design and finetune it.

“I also use computer-controlled machining to help me to create the more complex forms I design. I still do the finishing by hand, which creates a nice synthesis between the modern and ancient techniques in my work.

“I like to think it takes my work to a higher level of complexity, but retains the traditional craftsmanship – it’s a better connect between head and hand.”

Randall, 35, is studying a masters degree in furniture design at UTAS, to evolve his work and style.

“I’ve just always enjoyed making things,” he says. “I started out with Lego and it all followed through from there.”