Frankie

look what we m de

LEADLIGHTI­NG DUO SAM SEARY AND NICK CARIS KNOW THAT ART IS PAIN. THEY HAVE LITTLE CUTS ALL OVER THEIR HANDS TO PROVE IT.

- Interviews Adrian Craddock Photograph Stephanie Rose Wood

NICK SAYS: My fixation with hip-hop records began when I was very young. I loved the way they mixed samples and sound fragments and made them into something brand new. An artist might take a drumbeat from one record, a horn sample from another and put it all together. It was like a mosaic of sounds. For me, making leadlight windows is a little similar: it’s a collage. You assemble little pieces of glass together to create a whole.

Our practice, Vivrant Things, started when my partner Sam and I moved to Melbourne from Queensland a few years ago. One of the things we liked about the suburb we lived in was how there were stained-glass windows in nearly every second house. Walking the dog as the sun was going down, we’d just see the light shining through all these coloured bits of glass. It was great, but we noticed that the designs were usually fairly similar: Art Deco flora or fauna.

At the time, we were on the look-out for a new hobby to do together. So we thought maybe we could learn how to make leadlight windows and present some images that reflected our interests.

Our first step was finding a lady named Deb who did day courses in the outer suburbs. At first, I was kind of nervous – I saw broken glass as something dangerous. As the day progressed, though, I got more confident. I started to understand that when you cut a piece of glass, you can hear when you’re doing it right. It’s hard to describe the sound, but you know it when you have it.

We came home with the hunger to do a lot more. My first project was inspired by the cover of one of my favourite records growing up: Eric B. & Rakim’s Paid in Full. It came about after we went to a glass shop near us and I saw this piece that was white and clear and green. It looked like the cash money in the background of the album cover.

Since then, I’ve done other album covers, including Pink Floyd’s The Division Bell, the Beatles’ Rubber Soul and Minnie Riperton’s Perfect Angel. I don’t do too much detail. If you can see a piece with blurred eyes and get the gist of what you’re looking at, that’s a success. I usually trace over the cover and try to get the most fundamenta­l shapes. Then I try to simplify it over and over. You really have to know your skills, because there are certain shapes that are nearly impossible to cut. An internal right angle, for example, is pretty much impossible without expensive tools. That means you sometimes have to make compromise­s with the design.

The making process definitely involves a bit of wear and tear on your body. We’re very conscious about the risk of lead poisoning. Cuts are also pretty common. A few months ago, for example, I finished up a whole day of preparing glass and went over to my turntable to have a scratch and I realised that my fingers were covered in tiny nicks. I could barely scratch a record. I felt like I had little baby fingers. Everything hurt.

Still, it’s worth it. I find it cool to think that if our pieces are looked after, they could outlast us. Who knows? They could even be dug up hundreds of years from now. Imagine what people in the future will think when they find a window with Eric B. & Rakim on it.

SAM SAYS: Sometimes when I tell people that I make leadlight panels they make a strange face and just go, “Oh OK, cool.” But after I show them a few examples you can see a change. There’s one panel in particular that usually gets a very strong response: it’s based on a vintage Playboy magazine cover, and features a woman showing a bit of underboob. I’ll never sell it, though. I love it too much.

I totally understand why people might see that kind of work as slightly rebellious – there’s obviously a lot of religious baggage that comes with stained-glass windows. I have to say, though, that I never intended to be subversive. Maybe it’s my subconscio­us, but it’s not really deliberate. Nick and I are just trying to funnel things we like into a different artform.

For me, textile design is a big inspiratio­n. I’ve done pieces that are inspired by quilting and Hermès chain scarfs. But I’ve also done stuff that draws on old jewellery adverts and beauty product posters. You know those photos where a lady with two-inch nails is holding a piece of honeycomb or something and there’s honey dripping everywhere? I love stuff like that.

All my designs are drawn by hand. It’s hard to explain when I know they are ready. Someone at uni recently showed me this quote: “Art is never finished, it’s just abandoned,” and that’s how it feels sometimes. Often with a leadlight design, you could keep tinkering for ages, but sometimes you just have to say, “This is great, I like it, let’s do it.” I’m pretty good at stopping. Once I’m excited about it, I just want to do it.

Nick, on the other hand, sometimes thinks about things a bit more and likes to workshop designs on his computer. He and I come from very different creative background­s, and he’s a great collaborat­or. Not to get too deep, but once you find that person that you want to be around, it’s all very easy. Even though we spend so much time together, we don’t bicker.

It’s not like all we talk about is work. When we’re not in the studio, we’re more concerned about what’s for dinner or how cute our dog is. Although there are times when people must think we’re total creeps; we stand and stare at people’s houses all the time. We go walking around Melbourne and get inspiratio­n from all the leadlights – not necessaril­y from the designs, but the colours. I do sometimes look at church windows, but I can never bring myself to go in. I don’t know what that’s about.

Building the business together has definitely been a labour of love. Each piece takes days. But the response has been incredible. Just through Instagram and word of mouth we’ve taken on a lot of commission­s. Lately, it’s been a little tough finding the time to keep designing. I study five days a week, work a side job, and Nick and I are about to get married. Are we getting married somewhere with big stained-glass windows? I don’t think so!

 ??  ?? Nick and Sam and their leadlighti­ng studio are featured in our special book,
Look What We Made - an introducti­on to the new generation of Australian makers. Find your nearest stockist or grab a copy online at frankie.com.au/lookwhatwe­made
Nick and Sam and their leadlighti­ng studio are featured in our special book, Look What We Made - an introducti­on to the new generation of Australian makers. Find your nearest stockist or grab a copy online at frankie.com.au/lookwhatwe­made

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