Interview to the artist Lana Launay
Lana Launay is a self-taught Australian artist and designer who currently works between Sydney and Los Angeles.
As you can see, although her crafted lamps are utilitarian, due to their volumes, textures and shapes, they are above all true luminous sculptures. Therefore, in addition to creating her pieces for hotels, residences, and/or retail, she also holds exhibitions in different galleries around the world.
A few days ago, we had a chat with Lana to learn more about her story, her beginnings, her inspiration, and her projects. Come on in and read.
What did you want to be when you were little?
I went through many phases creatively. I danced, sang and performed but grew out of that and shifted the expression toward anything I could make with my hands.
Really I just always wanted to be older because older people were taken seriously, but the older I get, the less serious I become.
How did the idea of creating this type of lamp come about? How would you describe your work?
I’ve always been attracted to lighting, It’s usually the first element I notice when I enter a space and I feel effected by the brilliance and hue of illumination.
“Lighting is usually the first element I notice when I enter a space.”
In my late teens I watched someone make a wrought iron floor lamp and was mesmerised by the process. At 20 I experimented making my first lamp using various parts I had collected but didn’t consider it anything other than another craft to experiment.
It was about 12 years later that I realised you can actually do whatever you want in life if you’re willing to make it work and so I re-visited my love for it, and here we are.
What materials do you use to manufacture your lamps?
I use an array of different materials.
Stainless steel, aluminium, brass, raffia leaf, silk, parchment paper, assorted washi papers derived from natural fibres like mulberry bark, some papers are reinforced with fiberglass fibres.
Wooden components are either beechwood or Eucalypt varieties.
Do you manufacture them yourself or do you collaborate with artisans?
All my work is hand constructed with a very small production.
I work with 2 different metal fabricators to construct the steel frames. The wooden components are made by Australian woodworker Samuel Creecy. And all, textile, weaving, stitching is applied by myself and soon, with an assistant.
My mother, a sculptor, also assists me wherever she can.
Do you follow any specific creative process when approaching your artistic pieces?
I design for myself first, what I want to own or what materials I want to experiment with. I’ve found my best, and most authentic work evolves from this intention.
The vision is clear in my mind and then I build a prototype to experiment with the shape and functionality.
What were your main motivations and influences at the very beginning?
All my leading motivations to start were for personal reasons.
I wanted creative freedom to make whatever I wanted, to be in control of my livelihood and to work from anywhere. I’ve always been a hard worker, often burning out for someone else’s dream and realised I should be working this hard for my own.
What are your daily rituals?
I start the day with tea or coffee and then move my body in some way before getting set into making – preferably hot yoga and a swim.
My studio schedule can change from day to day depending on the workload but I work till late most days so I make sure I stop to cook and dine with my husband.
What are you working on right now? Are you working on new collaborations/exhibitions? Who would you like to collaborate with?
I’m working on commissioned lighting for a few different hotels this year and will announce an exhibition within the coming months.
I collaborate with a few friends and am open to outside collaborations if it feels right.
I hope to make more time for this next year.
What is your relationship with social media?
I keep it minimal and only use Instagram. It’s a great tool for me to share my work and portfolio. I’ve also found being accessible to people on Instagram has opened up many possibilities and new friendships.
It can be really demanding though; I try to switch it off and soak up my surroundings and be with family instead.
What do you think about AI and its impact?
I have conflicted feelings, It’s a much larger conversation but It’s happening whether we like it or not so we may as well use it to our advantage. It’s a great tool for early design stages which is how I will use it.
Whenever I realise a final image or design is constructed by AI, I am often disappointed that its artificial so I’m sure I’m not the only one.
I do hope that once the hype is over, people will appreciate the beauty of handmade work and human construction more.
What is your background and experience? Where does your passion for artisanal products come from?
Through experimenting with an array of studies and pursuits like pattern making and sewing, ceramics, jewellery making, sculpture and paper craft.
My earliest memory of creating with my hands was maybe 5 years old, cutting and cementing mosaic tiles for table tops with my mother.
“My earliest memory of creating with my hands was maybe 5 years old.”
I focused on jewellery for many years but used it more as my creative outlet rather than a career to pursue.
Through every artistic practice you gain knowledge of a medium, a compound, a technique. I use it all in my work.
A dream…
I am currently putting a dream into fruition of working and living between Australia and Los Angeles with my husband.
The next dream is to build presence and exhibit in Europe so we will see what happens…
(*) Photos: Cover photo, still photo 2 and slider photo 2 by Nic Gossage; still photo 1 by Jessie Prince; slider photo 1 by Alexander Cooke.
