Jonas Edvard: “Most materials we use have a life of their own”
In a Q&A series, the designers and artists participating in The Mindcraft Project tell us about their process, what they are working on, how they use their favorite tool and generally what they are into right now. A warm welcome to Jonas Edvard.
What I do in my studio
I normally start the day by going through all the last couple of days’ work. It could be growing samples, materials that are being molded, hardened or in other ways transforming into shape. At the Studio we tend to have long processes in our work, and most materials we use have a life of their own, meaning we often have to adapt to their being rather than squeezing everything into one calendar. This is both frustrating and liberating.
Essential working tool
Festool MX 100 Mixer – for mixing all materials – the most sturdy and ergonomic handheld mixer for all materials. Electric stoves, pots and pans for heating and mixing materials. Scale in all sizes. Temperature controlled chamber – for dehydration incubation of materials.
What I work on at the moment
At the moment we are working on an acoustic installation in collaboration with Arup engineers with support from the Fritz und Trude Fortmann Stiftung, which is a research into acoustic materials from Mycelium and plant fibers. We are developing a sound absorbing material and we will show an Installation during the summer of 2020.
Best design experience
Dutch design week 2012. It was my first trip to DDW, a lot of interesting projects was shown, and it was a very inspiring trip which basically opened up my eyes for other people having a material-based approach to design.
Being fascinated with a material can somehow lead to compromises which cloud the purpose, meaning and value of the actual material. If you look at wood as a resource – nobody tells you how long it takes to grow or what kind of impact it had on the soil, plant life or lifecycle in general. I think that most materials either if they are mined or grown possess some kind of intrinsic value which is reflected in our cultural need for replacement of thoughts and meaning. We surround ourselves with beautiful and aesthetic objects, which basically are dead, and we guard them with our lives and keep them locked up in our homes for only our own purpose. I see the link between life and death as the most sacred of all material barriers – it is the link between our fascinations of the unknown and mystery of the regeneration of life. How did we get here and where will we go?
What I listen to when I work
A mix of: Khruangbin, Hailu Mergia, Nick Hakim and a lot of old Jazz-Funk and soul jazz.
Next travel destination
3 Things I’m Into Right Now
Grafting apple trees, making compost, building insect hotel and spending time with my 8 months old boy.