ROSS LOVEGROVE

A ceiling fixture that places a floating assembly of large pebbles below a simple modern aluminum disc. These in turn reflect each other, bouncing light between their taught bio-morphic surfaces and reflecting the environment around them. During the day, the piece acts as a sculptural object reflecting the dynamics of natural light and movement of people around them.

I have to think about the future because, not that I'm bored with it now, but I can't live now, it's not my place to live now. I've got to live ahead of myself.

It's one of those magical acts that is so poly-sensorial and culturally enriching that as a designer one is naturally drawn to the cult of the object

I’m interested in natural growth patterns, and the beautiful forms that only nature creates. How that flows through me and how that comes out is what I’m trying to understand.

I'm involved in everything from highly progressive lighting systems to airline interiors. In the field of transportation I can go from the micro to the macro: architecture, transportation, industrial product design, right across the board. It's Russian dollism, because they all interrelate: one goes into the other.

I rarely agree with what clients ask me to do.

You can't buy something which does not exist. In a way, let's make things exist and then judge later. Don't cancel the process of creativity too early; let it flow.

You have to be ahead of your game, and in industry that is a different condition than in art. If you make things in an intelligent way and then they are replicated, that's a beautiful thing. If you make things in a bad way and they are replicated, the wrong is multiplied.

The world we live in is not purely visual. For me it's totally poly-sensorial so the tactile, sensual aspect of living in the work that I do is brought to the fore.

Modern design becomes the eye catcher because it's out of context, it is something newborn and fresh, something people have never seen before. I mean, that in itself is the way we should sort of stimulate the senses of society, this urban condition.

You can't buy something which does not exist. In a way, let's make things exist and then judge later. Don't cancel the process of creativity too early; let it flow.

You have to be ahead of your game, and in industry that is a different condition than in art. If you make things in an intelligent way and then they are replicated, that's a beautiful thing. If you make things in a bad way and they are replicated, the wrong is multiplied.

I'm involved in everything from highly progressive lighting systems to airline interiors. In the field of transportation I can go from the micro to the macro: architecture, transportation, industrial product design, right across the board. It's Russian dollism, because they all interrelate: one goes into the other.

The world we live in is not purely visual. For me it's totally poly-sensorial so the tactile, sensual aspect of living in the work that I do is brought to the fore.

Modern design becomes the eye catcher because it's out of context, it is something newborn and fresh, something people have never seen before. I mean, that in itself is the way we should sort of stimulate the senses of society, this urban condition.

Often when I meet people and say I'm a designer, they say, 'Oh, a fashion designer.' Which is not a bad thing I suppose, a bit groovy.

I have to think about the future because, not that I'm bored with it now, but I can't live now, it's not my place to live now. I've got to live ahead of myself.

I’m interested in natural growth patterns, and the beautiful forms that only nature creates. How that flows through me and how that comes out is what I’m trying to understand.

It's one of those magical acts that is so poly-sensorial and culturally enriching that as a designer one is naturally drawn to the cult of the object

A ceiling fixture that places a floating assembly of large pebbles below a simple modern aluminum disc. These in turn reflect each other, bouncing light between their taught bio-morphic surfaces and reflecting the environment around them. During the day, the piece acts as a sculptural object reflecting the dynamics of natural light and movement of people around them.

I rarely agree with what clients ask me to do.