Meanca Neethling explains her working process mentioning ‘My approach to design is illustrative with an imaginary narrative that binds my work with character and emotion. Core tenets of longevity and functionality guide my works, pushing deeper into the duality of life where beauty and creativity flourish, even (or perhaps, especially) when seemingly uncomfortable. For me, tactile design - and blending the elements of colour, form and texture - elevates our senses, creating a connection through visual stories, an awareness that starts conversations, evokes curiosity and draws your imagination into a reimagined dream world. As designers, we have a responsibility, now more than ever, not only to create beautiful pieces, but have a positive impact through considered design, innovation and in the choices we make. It motivates and inspires me every day.’ she divulges to us when asked to explain more about her thought process.
Her approach, she says, ‘Is simple with a complex execution that elevates traditional techniques, using fabrics that are recycled and natural. We must slow down this fast-paced and disposable consumerism mindset and bring back the heirloom generation that celebrates craftsmanship. For the exhibition, I wanted to see how far I could push materials in building these structures. I wanted to create drama and unusual shapes and bring an element of surprise.’
‘My starting point was material, as I wanted to focus on innovation and waste or repurposed materials. This approach definitely dictated some elements of the design and evolved as the make progressed. I find balance in functionality, so using this as my core element, the design shaped into what was available material-wise and how this can be manipulated and reworked. I did not work with a theme rather than working with what was available and how this could be transformed. I experimented with how these materials can be translated into functional designs and how we can use existing resources through techniques of quilting, weaving and upholstery keeping traditions relevant and evolving.’
‘All three pieces started with a wood and steel frame with different materials manipulated to create finishes: the “Lucky Look” chair was upholstered in a felt that is made locally from recycled plastic bottles; the “Here Comes The Sun” floor lamp features pure merino wool and Belgian linen, digitally printed with an ombré design and woven wool details. The “Pina Colada” drinks cabinet was the most ambitious to execute. Built in collaboration with local craftspeople, the structure is covered with a mineral, non-woven vegan leather, which is a natural textile made from pineapple-leaf fibre waste, a by-product of existing pineapple harvest, and their use creates an additional income stream for farming communities. I used South African merino and karakul wool left over from rug production to elevate the doors with expressive hand woven illustrations. The legs slot into a rug that was made by master weavers in Somerset West. This was a true testament to the power of collaborative design.’
