2017
2017
Creative Non-Fiction
2017
Furniture Design supported by the David Collins Foundation
2017
Live Art supported by the Yoma Sasburg Estate
2017
Jazz Composition supported by PRS for Music Foundation
2017
Furniture Design supported by the David Collins Foundation
2017
Live Art supported by the Yoma Sasburg Estate
2017
Live Art supported by the Yoma Sasburg Estate
2017
Jazz Composition supported by PRS for Music Foundation
2017
Creative Non-Fiction
2017
Essay Films
2017
Furniture Design supported by the David Collins Foundation
2017
Materials Innovation supported by The Clothworkers' Foundation
2017
Jazz Composition supported by PRS for Music Foundation
2017
Live Art supported by the Yoma Sasburg Estate
2017
Furniture Design supported by the David Collins Foundation
2017
Jazz Composition supported by PRS for Music Foundation
2017
Materials Innovation supported by The Clothworkers' Foundation
2017
Essay Films
2017
Essay Films
2017
Materials Innovation supported by The Clothworkers' Foundation
2017
Creative Non-Fiction
2017
Creative Non-Fiction
2017
Materials Innovation supported by The Clothworkers' Foundation
2017
Essay Films
Facebook
Twitter

Peter Marigold

Furniture Design supported by the David Collins Foundation - Shortlisted 2017

Informed by his varied background in sculpture (BA Sculpture, Central St. Martins 1997) and various jobs doing theatrical prop making, costumery and set construction, Peter Marigold’s approach to furniture design covers a wide range of materials and an even wider range of techniques, processes and concepts.

A recurring motif in Marigold’s work is geometry; his current work-in-progress for the facade of the Royal Hospital for Sick Children (Edinburgh) takes microscopic skin patterns and sets them in concrete to cover the exterior wall of the building. The changeability of materials is another central theme; his Bleed Series (2013) features stripped steel nails in wood which gradually bleed down the structure.

His ongoing Split Boxes project features sets of boxes that are irregular, yet complete, being created from a single log split into four unequal pieces, but always with the combined angle total of 360 degrees. They were commissioned to become part of the permanent collection of CNAP, France in 2015 and were also installed as part of the permanent collection of the Museum of Israel, Jerusalem in the same year.