Named Designer of the Future by the W Hotel Group in 2013, Wood speaks to the post-Wallpaper* Magazine generation, people who yawn at the sight of a Jacobsen Egg chair, and are immune to the dubious charms of mid-century fakes as peddled by the likes of Matt Blatt.
What the new consumer wants is a sense of the authentic, a trace of the maker's mark. Pieces like Wood's Crisscross chandelier, made from hand-blown Pyrex in collaboration with artisan Pietro Viero, comprises 10 dumb-bell-shaped pieces strung together by flex to create an alluring cascade of light. Or the precariously stacked black-lacquered wood, walnut and brass candelabra called Shrine, which alludes to the interlocking structure of Japanese temples – with a knowing nod to idiomatic Italian tableware.
Her latest piece, the Maria chair, is a redux of the iconic 1927 Tolix galvanised aluminium Chaise A, reworked as an ode to two strong females: Maria the maschinenmensch of Fritz Lang's Metropolis (also released in 1927) and Elizabeth I of England. Constructed from laser-cut pressed steel, copper rivets and leather, the Maria evokes Elizabeth's almost masochistic boned bodices, conflating heightened femininity with astounding performance. Some might call it "messy", but then, some called Elizabeth hysterical.
The AFR Magazine's Arts issue is out Friday, February 26.
Source : http://www.afr.com/brand/afr-magazine/how-welsh-designer-bethan-laura-wood-appeals-to-the-postwallpaper-generation-20160112-gm453c