Australian Wood Review – June 2017

92 Australian Wood Review

T

he starting point for Israeli designer Hilla Shamia’s

acclaimed furniture works is nature, which is full of

seemingly imperfect and unpredictable processes from

which creativity emerges.

Hilla, 34, first started working with this unique technology

of casting metal into wood in 2012, as part of her final

project in the Department of Industrial Design at Holon

Institute of Technology.

Her initial thoughts and obsession were the connection

made between two materials, without any mediating

factor, as well as the contrast between two very

different substances.

Wood casting (a term which Hilla has trademarked)

involves the use of whole trunks of locally grown trees

that may include cypress, carob, olive, cape lilac, oak and

even eucalypt.

The wood is sawn lengthwise and placed into a mould.

Metal is then poured and the drama of scorching heat,

flames and smoke begins. The third element produced

is charcoal and this forms a delineating zone where the

leaking aluminium or brass and carbonised wood merge

and ‘freeze’ in time.

Each piece of wood is cast to a geometric shape and yet

the result is always unique. Hilla is interested in ‘the

Wood, Metal

and Fire

Inspired by nature and its infinite variations, Hilla Shamia’s

unique wood casting technique creates furniture that has

captivated a global audience.

FEATURE