Louis Vincent

Hello Louis, can you introduce yourself and tell us about your background?

My name is Louis Vincent. I studied Surface Design at UAL and worked as a printmaker for several years before transitioning to working with wood and natural materials. Recently, I moved from London to the edge of the New Forest in Hampshire (UK) to enable me to pursue woodcraft further. My grandfather was a master carpenter, and my father is an engineering lecturer; therefore, I feel it was instinctual for me to also pursue a life dedicated to making.

What led you to explore lacquer, and more specifically urushi?

Initially, I was searching for a natural way to finish wood that could provide both durability and waterproofing, thereby producing functional wooden tableware. However, as I began to explore the capabilities of urushi lacquer and other natural materials, such as wild clay and mineral pigments, that idea became more distorted, and the emphasis shifted towards surface treatment, which in turn has redirected the work to more sculptural leanings. 

How would you describe your approach to this technique: more rooted in tradition or guided by intuition and experimentation?

My approach to urushi is not conventional; I have a great admiration for the craft of traditional lacquerware, but that is not something I wanted to pursue in my practice. My working method is more focused on a spontaneous and intuitive engagement with materiality. 

The finishes and textures of your pieces are striking. They sometimes evoke ceramics more than wood. What are you trying to express through this aesthetic?

The affinity to the natural world is a pivotal part of my practice, which is concerned with the relationships and dynamics of material and form. The finishes and textures of my pieces are both informed by and physically formed from the landscape, producing objects and surfaces as representations of the natural world.

Among the Japanese lacquer techniques is Sabi Yuri, which combines clay, water, and raw lacquer. Is this the method that inspired your own process?

I am unaware of the correct term or even if there is one, as my technique is self-led and based on intuition rather than traditional methods, where engagement with the material ultimately directs the work. But yes, a mixture of clay, water, and lacquer is the foundation of these surface treatments. 

Could you introduce us to the three pieces that feature in our Urushi Lacquer Selection this fall? 

The three pieces in the Autumn Selection are made from sustainably sourced Beech from a storm-damaged tree located in the New Forest, Hampshire, UK. The rough timber was shaped using a lathe and coated in multiple layers of urushi lacquer combined with wild clays and continuously worked to reveal previous applications beneath, mirroring natural surfaces formed through the passage of time. 

Unique pieces available in our online store.