Upcycled – The Goods

Maker Stories

Inside the Artist’s Studio
with Vedat Ulgen

March 10, 2016

Vedat Ulgen outside his Brooklyn studio, photos by Rachel Orlow

UncommonGoods is a place that celebrates entrepreneurs and makers and wholeheartedly embraces creativity. If you’ve spent much time shopping with us or reading our blog, you’ve seen this celebration shine through the stories we tell about our products and the designers who make them. These stories share what really makes the pieces we sell and the artists we work with unique.

While every product we sell meets standards that make it an uncommon good, every once in awhile something comes along that is truly weird. Weird in the best sense of the word: In the way that weird, new music makes you want to listen again and again. In the way that a brilliant invention makes you ponder how in the world someone actually came up with that. In the way that an eccentric person makes you want to get in touch with your own beautiful inner weirdo.

Vedat Ulgen’s Worn Sleeve Vase and Worn Jeans Stool are perfect examples of this type of “weird” design. They are totally unexpected, look one way and feel another, and are as useful as functional products as they are intriguing as art.

These designs are made from upcycled clothing, so they should be soft, right? But they have a unique texture that’s smooth and doesn’t feel anything like you’d imagine. It seems like the sleeves shouldn’t stand upright and the stools shouldn’t hold the weight of a full-grown person, but they do.

Like his products, Vedat’s studio, Thislexik, isn’t exactly what it seems. From the street, it looks like a stack of shipping containers. Get a bit closer to the five colorful containers, and it becomes clear that the stack is actually a building with a living roof and windows perfectly placed to let in enough light. Inside, Thislexik is rooted in sustainable practices, fueled by experimentation, and filled with dozens incredible designs.

I had the pleasure of visiting the Red Hook, Brooklyn studio myself recently, and as a proud proponent of the aforementioned brand of weird, I was in paradise. It’s hard to convey how inspiring this space is to someone who hasn’t been there, how cool these designs are to someone who hasn’t interacted with them, and how innovative Vedat is to someone who hasn’t met him, but I hope these photos and this interview are at least a start.

Design

The Uncommon Count

February 16, 2016

We gave our reclaimed, recycled, and upcycled goods the infographic treatment!

Design by Nikki DeSautelle

The Uncommon Life

This Just In: Our Top 5 Most Creative and Head-Turning Greener Materials

April 22, 2015

Back in February, Last Week Tonight host John Oliver opened his show with a hilarious segment of reporters who all agreed that “infrastructure is important, but not sexy.” As crucial as infrastructure improvements are, Oliver proclaimed that “most people actually think it’s boring!” (Unless, of course, the infrastructure is blowing up in an action movie.) But in reality, Oliver admitted that he thinks infrastructure is quite fascinating.

Photo via Collectively.org

I would argue that the same holds true for manufacturing. It’s not a word that typically riles up the masses. It’s never trending on Twitter, and there isn’t an app that would make manufacturing any more sexy (with the exception of 3D Printing). Yet, the manufacturing industry touches almost everything we use. As you may have read in our latest Uncommon Design School post, in the decades preceding the first Earth Day “the manufacturing industry was more interested in making green than going green: factories belched out clouds of black smoke; toxic chemicals were dumped carelessly, polluting the soil and groundwater; and bottles, cans, and paper were all destined for the landfill after just one use.” Well, could that sound any less sexy?

Photo courtesy of Barry Rosenthal’s Studio Tour

Lucky for us, this 20^th century model of capitalism is becoming less and less acceptable. According to B Lab Co-Founder Jay Coen Gilbert, we are moving toward a stakeholder capitalism, where business is not only concerned about creating value for shareholders, but also concerned about creating value for society, the workforce, the community and the environment. Organizations like B Corporations are making sustainable business more important and attractive to consumers. In this way, I would argue that sustainability is one of the main factors that make manufacturing a really cool topic. Green design is only becoming more innovative and valuable than it’s ever been.

This realization got us thinking: What are some of the most surprising, head-turning green materials in our assortment this Earth Day? What are some of our newest items that make us excited to talk all things materials and manufacturing?

Reclaimed Bike Tube Rug

The Reclaimed Bike Tube Rug immediately caught my eye the day it entered our assortment. As I was reading the product description, I was particularly impressed that this artist uses the discarded bicycle tire tubes, gathered from bike shops in her area, and yarn scraps reclaimed from industrial production. I was even more intrigued how this hand woven rug seamlessly combines Old and New World techniques. But it was one concept in particular that made my head tilt sideways: this item is “waste negative,” meaning it removes waste from the environment, rather than adding to it. Brilliant!

Recycled Plastic Duck Family

Whereas reuse is the reinstallation of materials in their original form, recycling is the collection and remanufacture of materials into a new material or product, typically different from the original material. Handmade from recycled newspaper, recycled water bottles and clay, this Duck Family is a very creative example of attractive recycling.

Fire Hose Products

Here at UncommonGoods, we are huge fans of upcycling, the process of converting old materials into something useful. When you upcycle an item, you aren’t breaking down the materials, but refashioning them. As the Upcycling Fashionista puts it, “upcycling only requires your own creativity and elbow grease.” Micah Landworth’s line of fire hose products is a really unique way to transform discarded materials into something beautiful and true to its original character.

Pride & Prejudice Throw

I immediately loved this throw because P&P is one of my favorite novels and movie adaptations. What makes this throw truly special, though, is how it’s made. The makers repurpose, or adapt, pre-consumer cotton scraps, and shred and spin them into new yarn. How cool is that?

Vegetable Parchment Platter

Artist Margaret Dorfman has been part of the UncommonGoods family for more than 15 years. She has an extensive jewelry collection that’s made by hand from over 40 different varieties of fresh fruits and vegetables that are cured, dried, pressed and aged in a 10-14 day process. She calls this Vegetable Parchment, because the texture and translucency calls to mind the vellum parchments of medieval Europe. I was really excited to see that she is expanding this technique into other products besides jewelry. Even more awesome, her new Vegetable Parchment Platters are made with recycled glass.

Design

Uncommon Design School: The Origins of Earth Day & the Green Design Movement

April 9, 2015

As Earth Day celebrates its 45th anniversary this year, it’s hard to believe that the concept of “going green” is still relatively new. While we’ve come a long way as individuals to evaluate our environmental impact, the countless designs that we interact with on a daily basis have, too.

The UncommonGoods team planting flowers for Earth Day.

In the decades prior to the establishment of Earth Day, the manufacturing industry was more interested in making green than going green: factories belched out clouds of black smoke; toxic chemicals were dumped carelessly, polluting the soil and groundwater; and bottles, cans, and paper were all destined for the landfill after just one use. At the time, most people remained blissfully unaware of the consequences of overconsumption and how negligent manufacturing practices were wreaking havoc on the planet.

After witnessing the ravages of the 1969 oil spill in Santa Barbara, California, Wisconsin senator Gaylord Nelson had the idea of bringing environmental issues to the public eye by creating an event infused with the same energy as the anti-war protests occurring at the time. On April 22nd, 1970, his simple idea for a teach-in exploded into a national event uniting 20 million people under one common goal: raise awareness about environmental impact. The little holiday that could led to the creation of the United States Environmental Protection Agency and the passage of the Clean Air, Clean Water, and Endangered Species Acts.

During the same era of change, Vienna-born designer Victor Papanek quietly penned his cri de coeur, Design for the Real World: Human Ecology and Social Change, an impassioned plea for reform that laid the foundation for the emerging sustainable and humanitarian design movements.

Design for the Real World: Human Ecology and Social Change, Paperback, Second Edition, Published August 30th 2005 by Chicago Review Press (first published 1972), image via Goodreads

“There are professions more harmful than industrial design, but only a few,” he writes at the start of his 1971 manifesto. In addition to pillorying his peers for producing shoddy, stylized work that wasted natural resources and aggravated the environmental crisis, he also introduced the idea of socially responsible design. Calling designers “the handmaidens of capitalism,” Papanek advocated for a triple bottom line policy, in which people, planet, and profit are interconnected and should be considered together.

UncommonGoods Founder & CEO Dave Bolotsky meeting with artisans in India.

To Papanek, ecological and social responsibility are the twin pillars of the design practice and his advice has gone on to influence a generation of designers as well as businesses like ours. As a founding B Corp, we meet rigorous standards of social and environmental performance, accountability, and transparency. We’re also proud to support designers with a similar agenda, who make it their business to come up with better design solutions for people and the planet.

Reclaimed Bike Chain designs by Graham Bergh

In 1991, after getting a flat tire while riding his bike, Graham Bergh was inspired to salvage the materials to make something new and totally unexpected. Every year, his team of bicycle craftsmen collects thousands of pounds of used parts, drawing from bike shops nationwide, and revives them into creative home accents.

Graffiti Jewelry Collection by Amy Peterson and Diana Russell

After encountering the crumbling walls of graffiti throughout Detroit, Amy Peterson and Diana Russell found the inspiration to turn these bits of urban detritus from around the Motor City into one-of-a-kind remnants of its vibrant street-art scene. Together, they work with women from local shelters to create beautiful works of art that also have a beautiful mission to improve the lives of the people in the community.

Edgar and Ollie the Puppet Pals by Jen List and Stacey Waddington

When Jen List and Stacy Waddington stumbled upon a heap of unwanted sweaters and shirts, the duo decided to transform the old fabrics into a line of snuggly and imaginative children’s toys and accessories that encourage early learning and individual expression through creative design, wonder, and storytelling.

How do you plan on celebrating Earth Day, and what “green” practices do you incorporate into your life?

Maker Stories

Graffiti Jewelry: Off the Streets, into Art

December 17, 2014

Detroit got its nickname, Motor City, from its once booming automotive industry. For the last few decades, as the American automobile industry has declined, Detroit has deterioriated along with it. But over the last decade or so, creative types have been attracted to Detroit’s low real estate costs. Entrepreneur Amy Peterson is one of the creative small business owners helping to give Detroit a new identity–and she’s making a positive impact on her community in the process.

Amy, who has lived in Detroit for 8 years now, saw the beauty in chips of fallen graffiti around her neighborhood. While those flakes of old paint were once reminders of the city’s decay, Amy and a team of artisans are now turning bits of urban detritus into stunning symbols of rebirth.

Amy and her business partner Diana Russell work with area women from local shelters to transform the fallen paint into unique jewelry designs, including necklaces, earrings, and cufflinks.

Although Amy and Diana both have backgrounds in jewelry making, their current business wasn’t founded solely to produce fashionable pieces. According to The Daily Beast, when inspiration for the Graffiti Jewelry Collection stuck, Amy was already on the lookout for a way to help her community. Since she lived near a local shelter, she had spent time listening to the stories of women in need. She realized that the short-term housing provided by shelters doesn’t provide a long-term solution to the problem of unemployment.

Through experimentation with the graffiti pieces, Amy and Diana developed a technique for creating stone-like paint “gems” with brilliant layers of color, reminiscent of (and sometimes even more vibrant than) the original street art.

No existing art pieces or buildings are harmed to gather the paint. “We collect the graffiti once it crumbles off the walls in the city of Detroit, ” said Amy. ” We take it through a special process to reveal all of the layers that make up the scrap piece of graffiti. It creates a beautiful palette of colors that serves as the inspiration for the women we hire. They cut out whatever shape and color speaks to them.”

The Detroit Free Press beautifully describes this process as turning “nondescript sheets of paint scavenged from alleyways and weedy lots” into “a shocking kaleidoscope of color.”

Amy said that she considers herself fortunate to have met each and every one of the six woman that her small business now employees. “We plan on continuing to grow and help more women in our community,” she said. “Each piece of jewelry that we sell goes directly to supporting that mission.”

In addition to giving the female artisans she works with full-time employment, Amy’s company also helps them connect with organizations that provide further assistance.

“We have been able to offer [our employees] free legal aid thanks to the generosity of Foley Lardner, women’s empowerment classes thanks to Yodit Mesfin at Lips and Hips, a host of supportive services thanks to Focus Hope and Coalition on Temporary Shelter (COTS), Digital Inclusion provide[s] affordable computers, [services from ] Community Social Ventures, and financial advising from Lauryn Williams at Waddell & Reed Inc.,” Amy explained.

The financial management, business education, and life wellness skills that these programs teach allow the women to successfully transition from shelter situations to independence.

Taking part in the creative process and developing the technical skills required to produce the jewelry pieces also has a positive impact on the women who craft these designs. “It really helps enhance their confidence when they create beautiful works of wearable art that customers are proud to wear,” said Amy.

That confidence shines through in every perfectly polished piece of Graffiti Jewelry; and, much like the many customers who have told Amy and her team how proud they are to wear these designs that are as meaningful as they are beautiful, we’re proud to show off this collection in our assortment.

Maker Stories

Inside the Artist’s Studio with Jeff Davis

May 6, 2014

I had been cruising around Philly listening to XPN for a couple days. Lou Reed had just passed away. It was a very appropriate time to visit Jeff Davis in the Vinylux studio, a business created in celebration of everyone’s favorite music.

Jeff began collecting vintage records in 2002 to re-purpose into home decor and fashion accessories, the production of which looks similar to most of what I have seen in other studios: work tables, hand-tools, storage space. However, over time, Jeff realized there were machines and tools he required for his designs that did not exist — a vacuum to clean vinyl splinters, a machine to melt a record into a smooth bowl in a matter of seconds — so he took to creating them himself. Most artists show off their finished products, but in Jeff’s case some of his most impressive designs are his machines.

It wasn’t a surprise that a trip to Jeff’s studio would be incredibly exciting for me — all that vinyl and someone to talk to about my favorite albums — but it was a surprise to learn about the business savvy of one of our oldest vendors, to meet an entrepreneur who cares deeply for the safety of his employees, and see such an exciting company sprouting from a city I called home for so many years. Meet Jeff Davis, small business owner, expert at reincarnating old vinyl, and, in my opinion, example of what it means to be living the dream.

Design

El Anatsui: All That Glitters Isn’t Gold

May 14, 2013

Like most Americans, I’m pretty unaware of artists who aren’t American or European. Embarrassing but true: interpreting the art of very different cultures takes work, and I tend to approach art (as I do most things) impatiently, wanting immediate pleasure. So I’d never heard of Ghanian-born, Nigeria-based artist El Anatsui when the Brooklyn Museum opened his first solo exhibition in a New York City museum. (Which runs through Aug. 4, 2013.)

Ink Splash, 2010 – Photo by Aaron Bunge of Aesthetic Perspectives

Gravity and Grace, 2010 (detail) – Photo by Aaron Bunge of Aesthetic Perspectives

Now, thanks to Kevin Dumouchelle, Associate Curator of the Arts of Africa and the Pacific Islands at the museum, who organized the show, this lazy ethnocentrista has been gifted with a reward she didn’t deserve: a broad, deep encounter with overwhelmingly spectacular art. Totally accessible on a number of levels, El Anatsui’s work drew me in, motivating me to spend much more time learning about it than I normally do at an art show. I went twice. I watched all the videos. I never do that.

Afor, 2010 – Courtesy of the artist and Jack Shainman Gallery, New York

I thought this show would be of interest to the UncommonGoods community for two reasons: first, because it bridges the same fertile territory between “art” and “craft” that a number of pieces in our collection do, and second, because we love art made of recycled and upcycled materials. El Anatsui is perhaps the maestro of this practice.

Drainpipe, 2010 and Peak Project, 1999 – Photos by Aaron Bunge of Aesthetic Perspectives

Using tools ranging from chainsaws and welding torches to improvised small crafts tools, he has marked, joined, and shaped materials ranging from yucca graters and railroad ties to driftwood, iron nails, and obituary notice printing plates. More recently, he has focused on condensed milk can tops and used aluminum liquor bottle caps, with various brand names, from a distillery in the university town and contemporary art mecca of Nsukka, Nigeria, where his studio is.

Red Block, 2010 – Photos by Aaron Bunge of Aesthetic Perspectives

Anatsui prefers not to call what he does “recycling,” and in fact, the connotations of that word are too narrow in the context of his work. The discarded materials he uses are so miraculously transformed into beautiful, shimmering, sumptuous works of art that his preferred word, “metamorphosis,” does seem more apt. At least one critic has dubbed it “alchemy,” and I can totally see why. (They’re metamorphosed into money as well; at least one piece is rumored to have sold for about a million dollars. So UG will not be offering his stuff any time soon, unfortch.)

Earth’s Skin, 2007 – Photo by Aaron Bunge of Aesthetic Perspectives

The show I saw (twice!) at the Brooklyn Museum consists of 30 works in metal and wood, the largest and most visually dominant of which are huge, mosaic-like, hanging tapestries made of the aforementioned bottle caps.

Earth’s Skin, 2007 (detail)- Photos by Aaron Bunge of Aesthetic Perspectives

A tremendous amount of meticulous craftsmanship goes into every tapestry, as you can see in this short Art21 video. Each is composed of thousands and thousands of aluminum liquor bottle caps. Anatsui’s 40-odd assistants cut and fold the caps into a seemingly endless multitude of shapes. “For each new pattern or texture that I’m introducing,” explains the artist, “I have to show them how it’s done. Because I find that, as an artist, if you don’t maintain physical contact with handling the material… the work might end up not having a soul.”

Earth’s Skin, 2007 (detail) – Photos by Aaron Bunge of Aesthetic Perspectives

They then painstakingly “sew” them together with copper wire, patchwork-style, in a dazzling variety of color and texture groupings, Many depict traditional Ghanian symbols and patterns, while also evoking the history of the African slave trade, in which liquor was a commodity that Europeans exchanged for human beings, as well as the contemporary reality of global consumption and waste. Surprisingly, Anatsui received his early education in a Presbyterian mission with a European curriculum, and was isolated from his own culture until, in his late teens, he decided to “indigenize [his] consciousness” by immersing himself in Ghanaian culture. That probably at least partly explains someone like me found his work so easy to engage with.

El Anatsui creating his wall installation, Gli (Wall), 2010 / Commission, Rice University Art Gallery, Houston, Texas / Photo: Nash Baker © nashbaker.com

El Anatsui doesn’t like to tell curators how to hang the pieces, so they have to be strong from every angle, as there’s no way to predict what kind of stress any given area might sustain. Before uniting all the sections of a piece, his crew pulls each section this way and that, to test their strength and make sure they’ll withstand being hung and re-hung in indoor and outdoor installations around the world. Without this careful craftsmanship, Anatsui’s brilliant, painterly compositions couldn’t perform their artistic function for long.

Black Block, 2010 – Photos by Aaron Bunge of Aesthetic Perspectives

There’s no way to adequately describe in words or photographs how stunning, and varied, his work is. Some of the hangings, pieced of solid color blocks of flattened parts of caps, are monolithic and imposing, even though they’re made of what’s easily recognizable as garbage. Some, made of cap parts shaped into circles that are loosely woven together, are semi-transparent, and hang above and around you making the room you’re in look transcendentally magical, as if dust motes had turned to gold.

Gli (Wall), 2010 – Courtesy of the artist and Jack Shainman Gallery, New York. Brooklyn Museum photograph

Photo by Aaron Bunge of Aesthetic Perspectives

One of the most amazing things about his work, to me, was that usually in the art world, consumer items, brand names, and garbage are used to say something negative and depressing. We’re meant to be reminded of the way consumer culture and advertising infiltrates nearly every aspect of our lives, usually degrading the environment in the process. When I see this kind of work, I often think, “I didn’t need you, Mr./Ms. Art School Graduate, to tell me about this. We all already know it.”

Courtesy of the artist and Jack Shainman Gallery, New York

But Anatsui’s work lifts you up and inspires you in all sorts of ways: artistically, environmentally, physically, and, dare I say, metaphysically. Anatsui shows us that the possibilities of re-use to create value of all sorts are unlimited.

Maker Stories

Meet Susan, Winner of the Upcycling Design Challenge

December 11, 2012

Earlier this month, our Upcycling Design Challenge judges met at UncommonGoods headquarters, some in person and others via Skype, to pick a winner from the top five voted designs. After and hour of discussing five unique designs made of reclaimed materials, the judges decided Susan Harbourt’s Forget Me Not Necklace made of recycled copper was the best choice to join our collection of upcycled goods. Meet Susan and help us welcome her to the UncommonGoods artist family.

How did you first get into designing?
As fate would have it, my husband had an amazing opportunity to move half way across the county. This meant leaving my engineering career behind and beginning what I thought was a new chapter in my life, little did I realize it was actually a whole new book!

We moved to Illinois and purchased a large Edwardian Era home out in the country that had not been maintained since the 1950s. It was a lovely home full of grace and charm and was in need of reviving. One fateful night, I was helping my husband update the original electrical system installed during the 1930s as a part of the Rural Electrification Act. Scattered all over the floor were piles of lovely aged copper wire that we had just removed from the walls of the old house. In an absent-minded gesture, to pass the time while waiting for the next instruction on how to help, I picked up a few scraps and wove them into a bracelet. A spark was ignited and a new passion was born in that very moment. Little did I know how much that moment would redefine the rest of my life.

What was the inspiration for the Forget Me Not Necklace?
The inspiration for my Forget-Me-Not line of jewelry actually stems from a mishap that occurred on the first Valentine’s Day my husband (then boyfriend) celebrated 20 years ago. He tried so hard to be romantic and surprise me by buying a special bouquet of flowers that were to be delivered to my dorm room. The flowers arrived, but they were three days late. He was so traumatized from that single event that he swore off buying flowers forever, so he switched to buying me jewelry instead. Now that I make jewelry, my husband no longer enjoys buying it for me. I do miss getting flowers and jewelry as gifts, so I had to do something about it! So I must admit, I designed the Forget-Me-Not jewelry line to fulfill my desire to receive flowers and jewelry again.

What is your favorite upcycling tip?
Don’t let what something was limit your mind to what something can become…

What do you enjoy about designing with materials that would otherwise be discarded?
I enjoy showing others, through my art, that there is more than one way to view the world around them and to not take things for granted because of how they seem at first or the labels placed upon them. It’s like a metaphor for life that applies both to objects and for relationships.

Is designing a full-time job or a hobby?
My official full-time job is being mommy to two very creative and inquisitive little boys. Designing jewelry started out as an accidental hobby for me. It then became something that allowed me to earn enough money to pay for the occasional babysitter and date night with the hubby. After a few years of teetering on that edge of hobby versus business I decided it was time to commit to taking my passion to the next level. I have spent the past year redefining and refining my business and vision. It is amazing to look at where I am now versus a few years ago. I am proud to tell people that I am now a full time work-at-home entrepreneur and mom!

Describe your work space.
My studio is a work space dream come true! It is a large well lit space that I set up with a great flow that allows me to be organized, efficient, creative and productive. As you enter there is an office area and bookcase full of books and items to inspire me. From there it continues into my material storage and metal prep area that is filled with some amazing tools with great history. I have a large chest of drawers that once housed geological samples in a museum at the University of Illinois and there is a variety of large industrial tools that are from the 1940s. Beside that area I have my soldering and metal forming stations followed by the area where I do my finishing and assembly work. The last stop in my studio is my shipping station that makes me feel like every day is a holiday – it’s full of ribbons and boxes and items I made that are ready to start their journey out into the world and begin their new life with someone new.

The thing I love most about my studio is that I have a well-stocked creative play area set up where both of my boys can explore their artistic minds along side of me as I work. I enjoy watching them have the freedom to create and express their individuality. My husband also has a wonderful metal and wood shop set up on the other side of the wall which has a large window in it so we can feel more like we are working together.

What challenges do you face as an artist who designs with reclaimed materials?
The big challenge that I face [is running] out of my unique materials. Fortunately for me, I have a lot of copper wire that I removed from my house. I feel like I have hardly put a dent into it. I have also found that once people realize that I like to create with reclaimed materials, they become very generous in bringing over there project scraps. That is how I came across the copper roofing materials I have started to incorporate into my work.

The other big challenge I have with my work is that some people just don’t get it. I feel that I often have to educate people about the significance of using recycled and reclaimed materials. There are always the people that feel that copper is a low end metal and don’t understand why I don’t work with gold and other designer metals. Not that I am opposed to using the other metals, and at times I do use them, it is just that I love my old copper wire!

What advice would you offer someone interested in entering an UncommonGoods Design Challenge?
The best piece of advice I can offer someone interested in entering an UncommonGoods Design Challenge is to find your own voice and perspective first and have confidence in it. It does not have to be exotic and elaborate; it just has to be uniquely yours and fresh.

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