The woodlander
- Angus fell in love with making as a child
- The time he spent volunteering in Africa has informed his work
- He is the co-owner of 55 acres of woodland
When Angus Ross was first working in wood, he decided to make a travelling chest for his wife, Lorna, who was a community midwife. It stored a collection of aromatherapy oils and had a central section with two lidded drawers that could be taken to home births. “I had a book of Witch Doctor masks from Africa, which had a sense of mystery and magical healing powers. The shape and proportions of the cabinet were directly influenced by those masks. I also liked the fact it was for a specific person and a specific function,” he says. Creating a narrative based around a person, place and function is still central to his designs. He is passionate about combining ancient techniques with traditional cabinetmaking, and sustainability is central to his ethos.
Discover his work
INTERVIEW
I trained in industrial design and then worked as a designer for a company producing mass-market, plastic products. Even before the downsides of plastic were recognised, I had become demoralised. I realised it was possible to make beautiful objects in wood with comparatively small start-up costs.
Finding a narrative when exploring the design process, whether that is to reflect a certain person or a specific place. The making process frequently throws up new possibilities, such as a half-spiral around a bench leading to a full spiral to provide the structure of the bench.
Controlled steam-bending. This is an ancient technique, but one that I enjoy pushing a little further, bending it more tightly and more evenly in interesting forms. I am fascinated by the sense of movement, both actual and implied.
I love the fact it is so linked. The ancient trees I fell are rugged, twisted and characterful. I fell a few each year, slice them, dry them and transform them into furniture. Felling trees brings light onto the woodland floor and in turn improves biodiversity.
