Matan Fadida Sep - 26'

Q&A with Matan Fadida

1. Your craftsmanship and process are so dynamic and exploratory. You have an incredible ability to take an imaginative design vision and bring it into the physical world. I’m always amazed by how you work with familiar materials, yet understand them so deeply that the final pieces feel completely unexpected.

Were you always like this from a young age? What is your earliest memory of designing or making a piece of furniture or an object? Is there a particular story or moment that you remember?

I think growing up, I’ve always been really imaginative, often daydreaming and living in my own fantasy world in my head. To me, this was probably the first sign of designing and creating my own world. In many ways, I never really outgrew this.

In terms of physically making something, I think I was around nine or ten when I made a miniature wooden car for my dad, based on his dream car.

2. Your iconic garage / workroom seems to be where a lot of the magic happens. I’ve seen some amazing work being made there.

Is making and tinkering something that runs in your family? Was there always someone around you building, fixing or experimenting with things, or are you the one who started this lineage?

My dad’s side of the family definitely has a lot of tinkers. Specifically my grandad, who was a mechanic and was always fixing things around the house or making little water fountains. This was passed on to my dad, who, although more of a businessman, is definitely good with his hands and tools. Most of my weekends growing up were spent doing DIY projects with him, which I’m really grateful for …even if it meant missing out on sleeping in on the weekends.

3. Have you had any mentors or particular people who have played a significant role in shaping your creative life and the way you think about design?

Definitely my time in London and working alongside Martino Gamper and Faye Toogood. They were heroes of mine during university, so having the opportunity to learn from them firsthand was really eye-opening. Not only learning about their practices and design processes, but also seeing how they run their respective studios and how the wider teams work together as a whole.

4. I know you spent some time working with Martino Gamper in London, and your chair was later exhibited at Milan Design Week as part of Wallpaper’s Class of 24.

It must have been an incredible experience to see something you designed presented on such an international stage. Could you tell us a little about how the chair came to be selected and the journey that took it from your studio to Milan? What was that experience like for you?

That was definitely a big highlight for me! At the time, I was still pretty new to London and was itching to make something new. The chair was a real labour of love. I didn’t have any intentions for it to be showcased anywhere, I just had a gut feeling that I needed to make it.

A few months after posting it on Instagram, I got an email from Wallpaper* inviting me to have it published in their magazine and exhibited in Milan. I guess it was a good reminder that you never really know who’s watching, and sometimes it’s just about doing the work and putting it out into the world.

5. You’ve spoken about your respect for and inspiration from Andrea Branzi, particularly his vision of bringing together contrasting materials, where nature and industrial elements can coexist within our living environments.

I find some of these ideas interestingly connected to the Japanese philosophy of wabi-sabi  not necessarily as a direct influence, but in the way imperfection, materiality and the natural world can exist alongside design.

I feel Sticks & Stones is almost your own interpretation of some of these ideas, and I’m thrilled to see these bespoke pieces within the gallery. Through developing this collection, have you discovered anything new about your own practice? Has the process opened up a new direction or sparked ideas for what might come next?

I’ve definitely been influenced by wabi-sabi, alongside Andrew Branzi. As I think more about the direction society is heading, the ideas of human touch, imperfection and the natural world feel more and more necessary. The installation 112 Stone Dishes, which I did earlier this year, was definitely me putting these ideas at the forefront, and I feel like it has sparked a new evolution in my practice.

I think that’s important, to not become stagnant, but to keep evolving and remain aware of the times we’re living in.

6. I really love how this collection connects with local businesses and makers. It feels like a beautiful model for a more sustainable creative ecosystem, designers creating meaningful objects locally, businesses contributing to the process, and galleries sharing the stories of the materials and people involved and we have the audience for those artist's bespoke pieces. 

Aotearoa is a small country, but we have incredible natural resources and so many resourceful, skilled and inventive makers. Having spent time in London and then returning to New Zealand, how do you see the creative and manufacturing ecosystem here now? Has your perspective on making in Aotearoa changed?

Local businesses and makers are truly the backbone of any creative industry, especially in Aotearoa. When you’re working in small, experimental quantities, it’s near impossible to make things happen without the community around you. Something that still surprises me is just how nice everyone is here. Everyone who has contributed to Sticks & Stones has been so open to trying new things and has genuinely found joy in doing the work. That has a ripple effect, which I hope comes through in the end result.

One of the biggest differences between London and New Zealand is the freedom of movement. I’ve really enjoyed being able to jump in the car, drive around to different manufacturers and makers, fill up the car and return to the garage all in one afternoon. In London, there were countless times I had to carry some huge piece of material onto a packed Tube.

The talent in Aotearoa is also very evident. The makers here are on par with what I experienced in London; the difference is really just the limited numbers. That’s why I think it’s so important that local businesses, makers and designers are nurtured and supported, so they can continue contributing to and growing the creative scene here.

7. You work across many different materials and processes, including casting, mould-making and modular construction for furniture and bespoke pieces. I imagine that working within the realities and limitations of local manufacturing has also shaped your design language, while each project builds your knowledge, skills and network.

Is there something you’re particularly excited to try making here in Aotearoa that you haven’t had the opportunity to explore yet?

There’s definitely a lot of ideas I have up my sleeve, and hopefully I can explore them soon. I do think that as a designer, you have to be resourceful and make use of what’s around you, including the manufacturing processes that are available.

Usually, with a new idea, I try to find the core element of what I’m trying to communicate. It’s not necessarily the material or the production process; it could be how it makes me feel or the narrative it conveys. From there, it’s about finding a suitable process that can elevate that core element as much as possible.

8. I’ve heard you’re interested in working overseas again in the future and continuing to develop your practice internationally.

At this point in your career, what would your dream project or dream job look like?

My dream is still to have my own studio and continue my practice full time, which I feel like I’m hopefully heading towards. But as I’ve travelled and widened my perspective, I’ve come to understand that this kind of career is truly a luxury, and it takes a lot of luck and hard work to sustain it.

So, for now, I’m really just trying to position myself to hopefully make this work for the long run. That might mean moving my practice overseas again at some point, but I definitely want to continue contributing to the creative scene in New Zealand. I’ve really enjoyed being back, and the community has embraced me again, which has given me a lot of confidence to keep going.

In return, I feel like I have a responsibility to pay it forward and hopefully help nurture the community we have here.

9. And finally, thank you for all the dedication and time you’ve put into this exhibition at Public Record. You’ve created some significant pieces that resonate strongly with our ethos around design, materiality and creative thinking.

I’ve really enjoyed seeing familiar materials and everyday references transformed into objects that give us a new perspective on our surroundings.

How was the process of developing Sticks & Stones for you? What did you enjoy most about the experiment of building this collection? and few words of collaboration work with another artist, Kevin Dong, what was the experience through this collaboration? 

Thank you for the opportunity! Public Record plays a significant role in the creative community here in Aotearoa New Zealand, so it really was my pleasure to work with you, Masami and Tristan on the two exhibitions.

Sticks & Stones was really about not overthinking things and having fun with design. Lately, I’ve been so concerned with the business side of my practice, which is important, but I also need to make sure I’m creatively excited about the work I’m doing. This show definitely provided that for me.

It was also the first time I’d created a significant amount of work centred around one theme. This gave me the opportunity to really build a narrative and present the show cohesively, which was a true joy.

Snow on the Path with Kevin was also really fun. Kevin is so talented, so I really just wanted to give him a platform to showcase that through his drawings. The frames were also a new and exciting challenge for me, and gave me a fresh perspective on how to present work. I think the biggest highlight was fitting all of the artwork into the frames together. Sharing that excitement and sense of fulfilment with someone is truly special.

Again, thank you so much, Yuka, for all the trust and creative freedom you gave us. We’re really excited for the next chapter of Public Record as you guys move into your new space.