Issue link: http://papercitymagazine.uberflip.com/i/1376323
kitchen table. For a long time, I've wanted us to create our own shapes, because we're very much about sculpture and form. The ceramics needed to have a plump aesthetic that feels homey; they're distinctive shapes yet will fit into many different styles of home. For the Plough throws, I wanted to combine the luxurious feel of traditional craftsmanship with an abstract contemporary design. I'm hoping to expand our homeware range to include new pieces in the coming months and years. Your house FT: Currently our house is a building site! My husband and I have just bought a house in the countryside, because we wanted to move out of London, get closer to nature and also to my parents. We're still in the process of renovating it, which is really exciting. Object obsession. FT: I'd have to say my Sculptor's table. I designed it to be a true centerpiece of a home. In our last house, we did everything on it: cooking, making, eating, painting — even dancing! It's made from solid oak and covered in layers of car paint and therefore is indestructible. Women's work. F T: Tr a d i t i o n a l l y, female art and design have been limited to craft, and therefore there has always been a longstanding history of females connected to textiles. When I started out, I didn't want to be put in the craft bracket, so I produced all this strong, angular f u r n i t u r e f r o m heavyweight materials like bronze, mesh, steel, and concrete. I hate being pigeonholed, and since I was already an outsider, having not had an official design education, I could assert myself as someone who didn't stick to prescribed notions of what a female artist or designer should be. Over the last few years, I've become more comfortable working within the textiles sphere, having now produced a series of large-scale tapestries for my "Assemblage 6" and NGV Downtime exhibition, as well as for the new Plough throws. Rock, paper, scissors. FT: At the start of this creative felt, and canvas, and a current show at National Gallery of Victoria in Melbourne, Australia, uses light to refer to various 17th- and 18th-century domestic interiors of her design. Her homeware collection of curvaceous Dough ceramics and Plough hand-woven throws comes out this summer and complements her sculptural furniture. It's all just too good. Find them at t-o-o-g-o-o-d.com. What's the scoop. FT: Our Dough ceramics include a mug, pitcher, vase, centerpiece, platter, and bowl, all cast in stoneware and available in cream and charcoal glazes. Our Plough throws are individually hand-loomed in merino wool by skilled weavers. The most important thing was to create a range of products that are widely accessible and everyone could have on their "There's definitely a trompe l'oeil effect within our work as we play with materials and often shift their traditional use. Huge importance was paid to replicating the original without cleaning up or straightening anything out. Each crumple of the paper, crease in cardboard or tape had to be replicated, small scale to large scale." — Faye Toogood Faye Toogood Maquette 72/Masking Tape Light 2020, Friedman Benda gallery Dough homeware 39