Overview
The extroversion of Greg Bloomfield emerges not by way of personal flamboyance or sartorial style, but in the genius and perversity of his creations. In short, he likes to create functional furniture items within a context that either belies their original intention or tells a story about something that holds his interest. He works with no plans, only with a clearly envisaged idea. Then he collects the materials he needs and 'does it'.
"My style has just 'developed' and now happens without any conscious effort - an aesthetic only to be held back at times by practicality and material. Also doing what has already been done doesn't interest me," he says.
"I realised some time back that the reason behind making furniture was to tell a story... Looking at things I see during the day - maybe even a painting - allows me to disappear into my own mind and say, ok, I want to make a chair or a table, but I also want to use this as a basis of 'why'!"
The design process
Bloomfield dislikes the restrictiveness of plans: "I just have ideas; I see something and go do it. That's fine when I am doing things for myself, but commissions are a different story - they pay the bills, and a more structured approach is often necessary. But the end result can still be pretty spectacular."
He points to a curvaceous and voluptuous piece across the room finished in creamy American maple. It is called 'symphony' because the original was commissioned by a professional cellist, and remains the design of which he is most proud. "One I built sold to a US collector at the top end - it was very fancy with ivory and gold detailing, and hidden drawers that only the owner knew how to open."
He dreams of making the seemingly impossible: "My ultimate [aim] is to make a table that stands on a pinpoint. I have experimented with my son's gyroscope and considered the possibilities ... that sort of thing intrigues me and keeps me going."
Story and pictures by special arrangement with timber+DESIGN International magazine (www.timberdesignmag.com
