The Lost Clay Workshop by Marco Campardo Studio
21–23 April 2021 – MA Material Futures
Central Saint Martins, London
The Lost Clay was a three-day workshop run by Marco Campardo. Inspired by the lockdown restrictions and limitations, The Lost Clay seeks to experiment with mould–cast–making by using a low-temperature melting point alloy, to generate unique, one-off objects, with limited equipment and everyday materials that a student can easily find.
The project uses the lost-wax casting process, a well-known technique generally used in metalwork to create jewellery or duplicates of small sculptural objects. But instead of wax, clay will be used to create the original piece. Experimenting with this technique, The Lost Clay emphasises the relationship between the original and the copy, the unique object and serial reproduction.
To reveal the final object each mould needs to be broken. This laborious process, therefore, results in a unique final piece – a metal object whose irregular surface with slight imperfections is read as the material trace of its singularity and its process of production. Using clay to make the mould mirrors an organic process of making like that used by ceramicists. This handmade process shapes the perception of the final cast – the metal object is defined by its imperfection, where traces of individual hands craft the unique aspect of the final outcome. The production process determines not only how the final outcome is made, but also its form and appearance.
Developed in this way, in Enzo Mari’s words, the process encourages students and makers to “think with their hands” and experiment with a unique material.
Thanks to Sammi Cherryman for helping me to develop the workshop
Marco Campardo Studio
90 Haymerle Road (Studio 14G)
SE156SB Peckham – London
For studio enquiries, commissions, press or internships please write to email@example.com
Marco Campardo is a London-based designer focusing on production, research and teaching. He has a particular interest in making and material experimentation as a form of critical practice, using it to explore wider narratives about culture, materiality, identity and authenticity.
MMMarco’s work starts with hands-on experimentation and research to question the nature of contemporary models of production. With a keen interest in materiality, his research seeks to subvert or adapt industrial manufacturing processes to propose an alternative to standardised, mass production. The final result of this process is aesthetically and conceptually refined objects, whose final form is determined by the very process of making. Playing with high-end and lo-fi methods and materials, Marco’s projects can be seen as a commentary on the value of making and craftsmanship.
Winner Ralph Saltzman Prize 2023, the Design Museum
Winner Wallpaper* Design Awards 2020
Ralph Saltzman Prize 2023, the Design Museum, London, 2023
Jello, curated by simple flair, hosted by riviera, Fuorisalone, Milan, 2022
Perfectly Imperfect – Flaws, Blemishes and Defects, Gewerbe Museum, Winterthur 2023
The Farm Shop, Fels Gallery, London Design Festival, London 2023
Teatro Albers, AMO and Josef and Anni Albers Foundation, Fuorisalone, Milan 2023
Raw Senses, OKRO Gallery, Zurich Design Weeks, Zurich, 2022
In the Direction of Colour, Fels Gallery, London 2022
Slanted/Enchanted, ESP Gallery, Toronto, 2022
Future Heritage, Decorex, London, 2021
Joy, Seeds Gallery, London, 2021
Where Things Land Down, Fels Gallery, London 2021
Beirut Re—Store, Beirut, 2020
Art Making, Seeds Gallery, London, 2020
Under/Over, Marta LA Gallery, Los Angeles, 2020
Lectures and talks
Salvage: How can we build from existing things?, talk, Stockholm Furniture Fair, 2024
The Ralph Saltzman Prize 2023: Edward Barber in conversation with Marco Campardo, talk, the Design Museum, 2023
Augmented Autarky symposium, lecture, House of Today (HoT) and American University of Beirut, Beirut, 2023
Design Perspectives talk, MA Material Futures, London, 2021
Axel Arigato, AMO, Josef & Anni Albers Foundation, COS, Kelly Wearstler, Selfridges, Wandler, HEM, Vero International, Centro Pecci, MACRO Museum, Tate Modern.
New York Times
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