SILVER AGE TOM



Inspired by the work of ‘Andy Goldsworthy’ early work by Tom Sutton was heavily influenced by the natural world and the organic forms within it. Specialising as both a Metal smith and Furniture Designer gave Tom the opportunity to express his creative skills through both small and large scale pieces. Silverware pieces developed along two paths looking into the feminine and masculine forms within nature.




Lily bowl 1994



Predominantly thorn like shapes fuelled tableware pieces, a form that would carry through to larger furniture pieces. As the work progressed lily buds were introduced into the design development bringing a softer elegance to the work.







Bud teapot and milk jug 1999








Furniture pieces carried the same organic influenc
e yet experimented with far less conventional materials. Tom moved away from working with fine metals and instead employed the use of recycled and industrial materials such as steel, concrete and salvaged components from domestic appliances. Applauding the early works of Ron Arad and Tom Dixon with it’s Post Holocaust identity, Tom embraced this inspiration and developed a range of sustainable furniture and lighting which amalgamated industrial and organic influences.


Squeaky Clean 1994




As within his silverware pieces, high quality finish was always a dominating element of his furniture work . Hand finishing coloured cast concrete and sand-blasting glass washing machine doors are just two examples of how Tom enhanced the appearance of the elements within his furniture. The use of recycled, sustainable and industrial materials within an alternative context to how they are commonly recognised and then presented to a high standard continues to fuel the ongoing development of Aero-Organic Design.


Cast bronze cutlery 1998


Colour Casting Concrete

Both generations
of Ultra Glow lighting use a cast concrete base as support. Early lamps had a solid base, not only did this make them increadibly heavy but also meant that an external transformer had to be used for the light. The next generation used a hollow cast base eleaviating both problems. The concrete is cast into a two part plaster mold with a male component to allow for hollow casting. The mix is made dry to 2:1:1 ratio (2 sand, 1 cement, 1 chippings), I favor 4mm chippings used to pebble dash the masonary walls of buildings. The mix is separated whilst dry and different cement dyes are added. The separated mixes are then mixed with water and added to the mold in various amounts until the mold is full. The mold is left for approximately 12 hours and then parted to reveal the concrete cast. Whilst the cast is still green and curing I fine finish the shape with palm sanders and coarse gritted cloths, working up the grades. When finally cured the cast is finished with a silicone based water sealer ready to be drilled for the steel armatures.






Ultra Glow I 1994