Darcy Miro on the Power of Collaboration, Happy Accidents and Nature

Q:Please describe your experience collaborating with artisans, what were some of the challenges, the unexpected learning experiences

A:In my experience, collaborating with anyone has its challenges and its revelations.  I prefer to collaborate with people who bring an obsessive skill to the table that is different than mine.  I spend all day every day involved in my life's work, whether it's the physical or mental side of my process.  I always set out to create things people haven't seen before. Some artisans work with certain materials by choice and some were born into it.  Either way one has to take it all to heart or else any collaboration will be just mediocre.  I think the biggest challenge in collaborating is the combining of voices to create one cohesive whole-- this too is also the best revelation in a great collaboration--the combination of two voices that create something really special.

Q:What is "now" in terms of materials, colors, techniques?

A:I think dark more ambiguous materials are very “now”. Patterns with negative and positive space, techniques that have the possibilities of happy accidents, anything inspired by nature is always "now" to me.

Q:Why do you think there such a jewelry revival now?

A:I did not realize there was a jewelry revival--as far as I can tell there has always been a love of jewelry.  I think it is the one heirloom people can physically bond with. The same exact piece of jewelry can be sentimental to more than one person.  I have always found jewelry to carry energy and power. People are addicted to jewelry, always have been, always will be.

Q:Can you visualize 2010 in a color palette? a texture? a word or several?

A:In regards to the 2010 color palette: Earth tones into charcoal grey-perhaps some shades of green in there--but I’d say that for 2009 and 2011"serene and calming."

Q:How is your work sustainable?

A:My work is sustainable because I use and re-use all of my materials.  I am constantly melting metal and collaging new works with old pieces.  I keep my process simple, rely on only one other person to assist me and I have a never-ending supply of ideas.  Each piece is an evolution of the last, not building toward any product, but more toward the experience and knowledge that I'll gather along the way.

www.darcymiro.com

Christina Nicholson, Director of Sustainability for William Sonoma Group talks about Wood

Q: Why do you think there such revival for everything ethical now?

A: I think people are looking for unique and authentic vs. mass produced and cheap.  People are seeking a deeper connection to the world and people around them.

Q: Can you visualize 2010 in a color palette? A texture?A word or several?

A: Without editing or thinking about it too much a warm color palette comes to mind – rich oranges and golden yellows.  Earthy textures like corn husks and pumpkin skins come to mind.  A campfire also comes to mind.  Words like warm, connected, bright, illuminating, and rich with love and friendship come to mind.

Q: Why has the sustainability conversation started with wood?

A: Forests and wood are very important natural resources for humans and non-humans.  Seeing what has been done to the rainforests to make way for plantations, grazing lands, and lumber is visually compelling and evokes an emotional response.  We know that deforestation also contributes to climate change – another motivating factor that elicits action.

Q: How can wood be sustainable?

A: Using Forest Stewardship Council (FSC) Certified wood and reclaimed wood are a big step in the right direction. 

Q: What should an artisan do to shift towards certified sustainable wood?

A: Anytime an artisan uses non-virgin wood for the products they make is a big step in the right direction. 

Wood products by Kirah Design: www.kirahdesign.com