"Good design should serve the needs of humankind and the interests of the environment," believes furniture maker Guy Martin

"The designer’s arena is the public realm. His products are used, looked at, touched and worn by every man. This requires a certain humility, a respect for normal life and sensibility, an empathy with the user. Above all the designer must inspire, comfort, interpret and encourage the user. Public art is not the place for private jokes or the primacy of individual expression, but the arena of great themes, of memory, life, growth and death.”
Theo Crosby

“Guy Martin believes that design is a listening process and responsibility and should serve the needs of humankind and the interests of the environment.

Using renewable local materials and ecologically sound methods of manufacture, Martin produces pieces that reject market led criteria in favour of the needs and desires of individual people. His entire philosophy of making is founded on his belief in the value of purity and integrity. Martin’s faith in sustainable practice is governed by a strong sense of spirituality and service as exemplified by vernacular craft communities.

English ash is Martin’s predominant material, chosen for its abundance and unique range of properties. He harvests the small dimension pieces himself, selectively thinning as an essential part of good woodland management. This choice of material displays a beautiful thriftiness since these small diameter poles would ordinarily be wasted or burnt for firewood.

Martin’s designs are informed by the constraints he has set himself. Embellishment is restrained by functionality, emphasising the essential honesty of every piece. The result is a quality product where function, material and nature of fixings, has controlled the form, but works in balance with the possibilities of modern technology and small-workshop limitations.

Although Martin’s work is rooted in traditional English methods and influenced by the historic precedent of the medieval craft guilds, there is nothing sentimental about his approach. He uses machine processes where necessary and is not afraid to let the effects show on the finished item. He rightly views over-emphasis on hand techniques as an irrelevant attachment to suspect notions of authenticity, rather than properly informed craft choice.
It is a measure of Martin’s range and skill that his elegant and original pieces avoid parochialism and yet speak so distinctly of a particular rural area. A recent development is the inclusion of stainless steel which lend his structures added modernity.”
Sara Hudston

“His objects - his furniture - would be equally at home in a medieval abbey or a 1990’s living room; mine resides in a 1820’s London terrace house. People think it is a work of art, a sculpture - then they sit, straighter than usual, yet in great delight and ease. Guy Martin’s furniture enhances, it works functionally on two levels, somehow making us feel both more alert and more relaxed.

Trained originally as a sculptor, Guy Martin has had extensive teaching experience, and his experiences have profoundly informed his current practice. His furniture is bold, vivid, sculptural, yet concise; architectural and domestic. What is startling is the sense of ritual made tangible. What is surprising, considering the vital visual statement that his furniture - tables, chairs, storage - makes, is comfort provided.”
Marina Valzey

CAREER RECENT
2004
Designed and constructed a further two special low impact garden buildings using predominantly local materials. Contributor, ‘CHAIRS 2004’, Westonbirt Arboretum. Talk - New Technology and Sustainability Conference, Ditchling Museum.

2003
Organised, with the help of the Ronald Pile Gallery, a major joint exhibition with the japanese textile artist, Michiko Uehara. This was the first time all the new developed designs were seen together. Designed and constructed the second garden building using straw bales within the walls. Low impact using local materials, low cost and energy efficient. Visiting lecturer, Plymouth College of Art and Design.

2002
Launched new repeatable range of interior domestic furniture, supported by a major award from South West Arts. Constructed the first arden building and repeatable garden seating designs. Both succcessfully bridging the idea that optimum function can also make a strong artistic statement. Continuing programme of creative workshops at Walford Mill, Dorset and The Eden Project, Cornwall. Began two major building projects underpinned by a vernacular tradition using renewable Red Cedar from Dorset woodlands.

HISTORY
2001
Talk, ‘Body and Soul’, Devon Guild of Craftsmen and The Eden Project. Wokshops, Walford Mill, Dorset and The Eden Project. Year of the Artist residency, Temple Newman House, Leeds. WDDC initiative, TM1.

2000
Visiting lecturer, University of Central Lancashire. Visiting tutor, Parnham College. Workshop residency, Banksfield Museum, Halifax.

1999
Visiting lecturer/tutor - Exeter, South Devon and Parnham Colleges. Visiting lecturer, John Moores University, Liverpool. Workshops, Thame and Amersham. Shortlisted, Jerwood Prize for Applied Art.

1998
Outside consultant, validation panel, University of Plymouth. ‘Greenwood’ workshop, Dorset.

1997
Master Class, Parnham College. The Craft Show BBC2. Awards judge, Somerset Guild of Craftsmen.

1996
Organised and ran ‘greenwood’ workshop at Hooke Park College for Rycotewood College. Visiting tutor, Parnham College. Selector, South West Arts Craft Awards. Selector, Devon Guild of Craftsmen. Artist in residence, Nine Springs, Yeovil.

1995
Part-time tutor, Rycotewood College. Facilitator, South West Arts, ‘Strip the Willow’ Workshop.

1994
Design and make contemporary non-precious jewellery in partnership with wife, Anya.

1992
Benchmarks workshop, South West/Southern Arts initiative.

1988 and 1995
Artist/Craftsman in residence, Mullion, Beaminster and Exeter Schools.

1987
Crafts Council/Gulbenkian Craft Initiative Furniture Workshop, Bretton Hall, Yorkshire.

1984
Started contemporary furniture design and make practice. In 1994 made a radical change of design philosophy, only using renewable local woods within a sustainable practice.

1981-84
Commissioned work from Sir Anthony Caro - including construction of his ‘Child’s Tower’ for Arts Council touring exhibition, ‘Four Rooms’.

1977-82
Established interior design partnership.

1975-77
Underwater design engineer/diver, Hampshire.

1975-76
Part-time technician, Royal Collage of Art, London.

1973-75
Diver. House restoration, extensions. Welder.

1972 - 73
Working at school for children with cerebral palsy.

1969-71
Studio Assistant to Sir Anthony Caro. Part-time photography teacher, St Martins School of Art.

EDUCATION
Portsmouth School Of Art. St Martin’s School Of Art, London. Qualification: BA Hons (Sculpture)

Early Years
Born 1946, Brought up on a converted motor-torpedo boat. Father - sculptor/teacher. Mother - motivator.