Lana Launay Captures Nostalgic Memories in Her Latest Collection
Sydney-based artist Lana Launay’s latest lighting collection, Feels Like Home, captures the essence of memories living with her father in Los Angeles, California.
Words: Hande Renshaw | Photography: Alexander Cooke
‘I can’t sleep if I have an idea that only exists in my mind, I have to materialise it – I’m driven equally by ambition and survival,’ says Lana Launay. Photo: Alexander Cooke
illume 03 by Lana Launay.. Photo: Alexander Cooke
‘I normally visualise something architectural or figurative and try to emulate that character in my shapes – I love juxtaposing textures and subtle patterns, I’m drawn to more primitive or organic imprints that diffuse and throw light in and interesting way,’ says Lana Launay. Photo: Alexander Cooke
‘An ocean swim is my favourite way to physically exhale. I think the ocean offers clarity and perspective – an elemental reminder that nothing really matters.’ Photo: Alexander Cooke
illume 01 and illume 02 by Lana Launay. Photo: Alexander Cooke
The creative journey for any artist is rarely one that is a straight and defined path. Instead, it’s often one that weaves and intersects, filled with experimentation and exploration.
This was the case for Sydney-based artist Lana Launey - having discovered the art of lighting 14 years ago after being inspired by a maker in Los Angeles who created lampshades from iron and dead stock fabrics, she made a couple designs herself, yet decided to turn her attention to jewellery design instead.
After diving into jewellery design for 10 years, Lana circled back to her passion for lighting a few years ago. ‘I’ve incorporated a lot of my jewellery making techniques in what I do now, so I suppose it was all a part of the journey,’ shares Lana.
Lana decided to move back to Australia during the pandemic, after time spent living in New York. With precious spare time on her hands to create, she once again ventured into the art of lighting. ‘I started with discarded frames and biodegradable fabrications and just kept making more and more.’
What started without a long term goal making purely light shades, has since evolved and been refined into more experimental and bespoke interior lighting. ‘Since transitioning away from only shades, I’ve had more creative freedom to explore all lighting possibilities,’ she says.
Lana’s latest collection, Feels Like Home, captures memorable moments living with her father in Los Angeles. Moments such as: a cosy little home on stilts by Spanish colonial architecture, tree-lined trails and blooming flowers that lead to nearby canyons. ‘The luminescent hum of soft lighting resembles the essence of a peaceful escape from nearby city life in this collection,’ says Lana.
Lana’s creative process starts with a shape, dictating the application of which material she will use for the design. ‘I use an array of shapes, I love a curved finish as much as a sharp edge, it's more that I’m attracted to a certain character that a shape may possess.’
She then works closely with her welder to construct the design. ‘Once the skeleton is fabricated, I will start weaving or apply whichever textile I have chosen. I haven’t been able to find the right studio space for my work so my work bench shifts between a table, the kitchen bench or my desk depending on the size.’
Audrey III Table Lamp, Beachwood Drive Table Lamp & Maisonette Table Lamp by Lana Launay. Photo: Alexander Cooke
‘It was very normal in my childhood to be expressive through craft – my mother is a sculptor and encouraged my brother and I to create resourcefully from a young age.’ Photo: Alexander Cooke
Tulipán Floor Lamp by Lana Launay. Photo: Alexander Cooke
Detail of illume 02 by Lana Launay. Photo: Alexander Cooke
“I’ve always subconsciously felt that making is a meditative release, a time for solitude and self exploration – having a vision come to fruition is the best boost of serotonin for me.”
‘I love juxtaposing textures and subtle patterns, I’m drawn to more primitive or organic imprints that diffuse and throw light in and interesting way.’ Photo: Alexander Cooke
Sensitive to environmental impact, Lana uses plant-based materials that are biodegradable in her designs, applying washi and cellulose papers, natural raffia hand-stained with coffee, coconut shell rope, Australian sourced timber, naturally dyed alpaca and silk and wool yarns from Australian farms.
‘Most of my collections and exhibited works are integrated with circular components derived from restored and re-configured metals, yielding new form and extending their skeletal lifecycle. The primary objective behind this process is to elevate salvaged materials with renewed purpose and prevent their disposal into landfill,’ says Lana.
During her formative years, Lana lived in London and also spent time with her family in Nerja, a small fishing town on the South coast of Spain. ‘This region of Spain will always remain a special place to me and although it’s years between visits, the culture and landscapes of Andalusia remain so vivid in my mind and feel embedded in my DNA.’
It was here that she was exposed to detailed tiles and architecture in Seville and Granada, and the textural textile influence from nearby Morocco, with its primitive dusty tracks and stone streets, ‘It all left a mark on my personal aesthetic –I think it seeps out when selecting textures and colours in my work.’
Coming up for Lana is a return trip to Spain and Morocco for a cultural design ‘fix’ and also a series of pieces recently installed at Sun Ranch in Byron Bay. She also plans to enter this year’s Make Award, a biennial prize for innovation in Australian craft and design, held by the Australian Design Centre. Watch this space!