Brian Thoreen is an art-centric jack of all trades. Throughout the years he has weaved in and out of a multitude of disciplines: from fashion to architecture, metal fabrication to carpentry, as well as the building of large scale installations for James Turrell, Chapter and House of Guerva. It has always been furniture design calling him back to meld several disciplines into one. Largely self taught, Thoreen has been creating some of the most exciting pieces in the design world as of late, including his insane rubber credenza.
BULLETT sat down with Thoreen to learn about his attraction to a dark aesthetic and the importance of his pieces finding their own identities through his skilled hands.
It’s a lot of thinking and visualizing. Some pieces start with a material, some with an idea. It’s not a linear process; it’s very intuitive. It’s about recognizing the potential of an idea or a material and then letting it ruminate. The important thing for me is letting my gut and intuition know when and where.
On creating work that begs to be touched:
To me, that is a sign of something being intriguing or having depth and emotion. It’s something I look for in art and design. If you see something and you feel like you want to touch it, or you want to bite it, or have a primal reaction to it, I think that’s a sign of something being good.
On his work’s dark, sensual aesthetic of his work:
That’s my tortured soul and my rebellious nature. But I also like things to be a bit playful. I think that’s an important contrast in my work, it’s dark in its nature, but that’s not my intention.
On self expression through design:
It’s really not about self expression, it’s more about expanding on a philosophy of design, space, and material. It’s more about expressing what the pieces wants to be, not what I want to be.
On taking risks:
You have to force yourself again and again. Opportunities don’t come without exposing yourself.