During studies you inevitably make friends, work contacts, and because of this I remained there after finishing my studies. I am very Latvian in my design, and I find it easier to work from a distance – to travel here and get inspired, so that afterwards I can ‘translate’ this into my works in Amsterdam. I also like Holland as a country. I have the feeling it is the place for me: that I belong to the country. I appreciate the freedom that reigns there in every aspect, for example, it is not difficult to travel through the city on a bike. There are two places in which I feel good – Riga and Amsterdam.
That would be related to my private feelings, but now about work. There are many designers there, and along with them – competition. Although on the other hand, design is paid a lot of attention, also from the State, by providing various subsidies for new and international projects. Design is being seen more and more as a value with which Holland can display itself overseas.
Design in Holland is currently related to social problems – through various projects, the government invites designers to think about the elderly, the handicapped etc. in their work. They invite input into the discussion of the problem of immigration, to use the artistic perspective of designers to find unexpected solutions. It is important that design is not just found everywhere, but is also used everywhere. Interesting projects are created, because you get the feeling that this is needed by somebody, and you are reminded what a large social significance your work has.
DS: Usually louder publicity is gained by contemporary art projects with a social orientation. What is the investment made by designers?
M.S.: The status of artists in Holland has been stable for many centuries – it is a respectable profession. The role of craftsmen has been reduced, and with the industrial era the profession of designer was created: someone who creates things for mass production. I studied something between craft and design – many designers work in their studios as craftsmen, make a name for themselves, with which they can present themselves to the industry and get the opportunity to do more design. It is a comparatively new profession, which is looking for its niche – both from a commercial perspective and in terms of professional identity. I still find myself explaining to people what I do: they understand what a painter does, what a sculptor does, but what is a designer? Then the conversation progresses to the fact that everything is designed, anything we can pick up and look at – it is all a product of someone’s idea and handwork.
DS: How is “Skujeniece” going in this brand-saturated environment?
M.S.: Saturation occurs at all levels – there are around five words which are recognisable on a worldwide scale. Although I have enough work. Not every company is able to hire one specific author – the big names. It is not possible for financial reasons, and they may not always want the familiar names, but they choose some new quality, which suits the company’s philosophy. There is fierce competition, but also a great demand. People are realising that the things they want cost money.
In my practice I allow the situation in which I sell things to larger manufacturers and big names, but I also leave some things to be under the management of my own small business. I intend to develop both of these directions simultaneously.
DS: How do you arrive at a society which is willing to pay for a designed environment?
M.S.: This is related to the culture of companies themselves. For example, I recently had a meeting with a company to which it was very important how their employees felt. Their workers make important decisions about buying and selling property, and developing new buildings. The company made sure that their employees felt not quite as if they were at home, but like they were in their own space – the colours and shapes for furniture were individually selected. They also believed that they needed, for example, their own dishes. We have begun discussions about dishes; they want something completely original and are not willing to simply buy something at the shop.
DS: That is a more inner-focused approach, in contrast to the usual order of things, where design is something which leaves an impression on the outside.
M.S.: It is truly interesting, and I was surprised at this. It seems that this is a fairly new approach. Until now I have worked only with restaurants, which are also focused on outer appearances. Although, the girls working in one restaurant say that they already have a relationship with the dishes – I created a collection for them, in which each cup was different… It is also possible that this approach hides an ulterior motive – indirectly informing possible clients that, if we look after our employees this well, then we will also take good care of our client.
DS: How did they choose you?
M.S.: From everything – from looking at my webpage, to holding dishes from my previous projects in their own hands. It seemed to them that they have found an extension of their own thinking.
DS: What is humane design?
M.S.: It must be a design which arouses emotions, it is more humane. I know that many designers also work in this way, so that the solutions for spaces or objects are not just functional, but also awaken people’s senses. Humane design is that which enriches a person, leaves them with positive feelings. And this can be either mass produced, or an art work available only in a few copies. I think that this question can be approached in different ways and on very deep levels.
DS: Your exhibition in Riga associates with a minimalist aesthetic. Is this characteristic only for this collection of dishes or of your work generally?
M.S.: Minimalism has long been at the basis of Dutch designer’s style. During my studies a strong accent was placed on conceptual design, with practical implementation being offered less attention. I think that my minimalism is because I am at the beginning of my body of work and I feel that I have to go through this stage of so-called minimalism or basic forms. I think that this practical “school” may give me the courage to experiment with something more original in the future. I also like kitsch things, although I doubt if I could devote myself to pure decorativeness. There is a difference between things which I like to look at from those, which I would like to create myself or even use myself. Additionally, the dishes seen in Riga were created for a restaurant, therefore their design can only be completely evaluated when they are combined with food. I agreed on this preferred outcome with the client; the restrained forms are not simply a whim of mine. In these dishes – their tones and forms – I have attempted to translate his preconceptions about the way in which we should serve and enjoy food. It must be noted that this work was a commission.
DS: Do you allow yourself to ever create something which reflects your own notions, not so much the wishes of your client?
M.S.: My approach is quite purposeful – some of the time I work on commissioned pieces, and the other part – I work on my own projects, which I also try to manufacture in small parts. For example, table mats embroidered with motifs of weeds or brooches which perhaps aren’t even that minimalist.
DS: How were these attractive felt brooches created?
M.S.: It was as if I was playing – in the framework of a project 50/50, where a group of designers had to react to each other’s ideas, as well as “translate” the ideas presented by the project coordinator. The brooches were created when I didn’t know what to do with the metal object she handed me – a door fitting. It seemed sharp and aggressive to me. I made my own version in felt, which could be used as a brooch. It turned out that I had made the best selling item in the project.
The more maturity I gain in my work, the more I can afford lightness and humour.
Minimalism will always remain as a solid basis, but at times I am attracted by something amusing, colourful, also folk art.
DS: In relation to folk art, I must ask – what did you mean when you said you were a Latvian designer?
M.S.: I simply know that I could never be really Dutch, because I haven’t grown up there. I could try to struggle with this, but you can also accept it as a difficult-to-define peculiarity. For example, I can’t imagine that, similar to Dutch designers, I could have a wish to make a play on shoes or tulips. This is simply not my culture, my roots.
Also, when I say “Latvian” I mean not only – and not even – the folkloric, but mainly the world of Soviet era social life and objects, with which I grew up. This is very rich and layered source which I am slowly begin to discover in myself. I think that our – thirtysomething – generation has been especially lucky because we have consciously experienced the Soviet environment, as well as the time after the regaining of independence.
DS: How do you value the tendency of folk design, that is, people’s wish to make things themselves, in any way they can?
M.S.: I think this topic could be a continuation of the previous one, because during the Soviet era people made things themselves much more often. And it is not even a question of money – that you must make something because you can’t buy it or something like that… The wish to create is natural and to be encouraged. And, if there has been a period of disruption like there has been in Latvia, when people are happy now that everything can be bought, then the fashion for home-made items will soon return. This phenomenon also has a minus – if we consider a colourfully mended sheet or shirt to be an original design, it is also possible that its author has had no choice and feels ashamed of the mended shirt. However I think that we should not worry if a person is forced to creatively solve some social problem. I have observed that in a society where there has not been poverty for a long time, girlfriends go to lessons on china painting, for example. Alright, no one wants to see these plates, but at least the maker herself is happy that the flowers and colours directly suit her taste and are proof of her own handwork. People need to be proud of their work.
Māra Skujeniece
Studies
1994–1999
Design Academy, interiors, interior objects and furniture design in the Man and Living section, Eindhoven, the Netherlands
Graduation work: Latvian Basics
1988–1993
Riga Applied Art School, textile art department
Projects
2006
Project: Loveseat – a bench for those who are in love. Design and production
Client: Hortus Botanicus (Amsterdam Botanic Gardens), Amsterdam, the Netherlands
Project: Porcelain and wooden dishes. Design and production
Client: Restaurant De Bakkerswinkel Westerpark, Amsterdam, the Netherlands
Project: Knuta Skujenieka dzejas måja (Knuts Skujenieks‘ House of Poetry). Exhibition design
Client: Literature, Theatre and Music Museum, Riga, Latvia
2005
Project: Renovation of apartment + office. Design
Client: Private individuals. Entrepotdok (former warehouse), Amsterdam, the Netherlands
Project: Furniture and interior objects. Design and production
Client: Milk – joint project of multimedia artists from the Netherlands and Latvia
2004
Project: Stand and furniture design
Client: Latvian Literature Centre, Riga, Latvia
Project: Porcelain dishes. Design and production
Client: Restaurant Proef, Rotterdam, the Netherlands