Cultural Catalysts: Peter Mabeo on his creative process

How do you find inspiration?

It is difficult for me to isolate an initial spark towards a specific idea from all else that follows or precedes it.  So I am not able to be specific about what is inspiring, nor can I say everything is inspiring.

Daily life, interactions with others, observation, without any sense of hierarchy of experience, is freeing. Learning the logistics of handling materials, from current and past design masters, adhering to functionality and observing influence of nature as we work is one thing, but seeing beyond this and understanding the common thread in the process, is something to be considered as well.

Where do you work best?

I could say in my sleep like Salvadore Dali, or in nature, or in silence. Any answer that is based on being in an environment that creates the ability to work best, seems like a form of trivial escapism.

There is independence in being free from the augmentation of a great environment that allows one to work at their best. A state of mind has its limits. Expanding these mental limits based on a stimulating environment creates a sense of external dependence. This erodes independence.

While I therefore understand the obsession with doing one’s best work, I consider its limitations. And while a comfortable climate, warm, outside in the sun, still, with a cool breeze under a shade, birds singing in the background or the sound of children playing is very pleasant; using this as something of immense value in bringing out my best work I find, commodifies life.

Taking the best of simple, uncomplicated joys and directing them towards being fuel for working is a kind of appropriation. So ultimately, while we work respectfully and as best as we can, in our studio, that is all there is to it.

Work is work and beyond being a means to interact with wonderful people who otherwise would not be accessible to us, like your great audience, with whom we are sharing our simple and lived observations with, however conventional or unconventional they may seem, is what is most interesting.

For this, we give our very best regardless of where we are. This is probably why it is possible to work in a remote setting that has no connection with the design industry, in an environment where design is considered at its best and all the discord in between. To give equal attention to what seems to have no profitable outcome with that which seems to have great potential in the design world.

Who is your creative inspiration?

Whoever I am interacting with at any given point is very interesting. Some traits obviously stand out and are articulable, while some are easy to disregard and seem uneventful. Regardless of this, there is a kind of energy that is there through considered relating. Not the kind that is sought out or intentionally observed, with a motive or, with a mechanical method of trying to see the best in people in order to be inspired.

An exchange of energy  and of perceptions, simply with no evaluation of whatever impact one has on me is easy and wonderful. Obviously there are people who have an incredible approach overall but I appreciate this when the approach is more of an incidental by product. This goes beyond a personality, allowing for appreciation of a person independent of them being an inspiration. It does not mean there is no value in particular traits, it just means that they can only be noticed as being inspiring retrospectively, if one were asked to dissect the impression that has been made.

But in the moment of interaction, directly or indirectly, in the understanding of the ephemeral nature of that moment, a quality that goes beyond being inspired, with two people relating easily and effortlessly is there.

What is your biggest creative challenge and how do you overcome it?

The demand of rushing time by others. Not practical timelines associated with the limits of physicality for instance; like working within the demands of drying time required for forming clay, etc., but more the incessant internal demand to create impactful work.

There are many statements that are made about slow design, sustainability, peace, inclusion, movements against fast fashion, overall wellbeing, and yet, it is very acceptable to push towards being able to create beauty and success on time and on demand at the expense of the real beauty which is independent of time.

The challenge is being clear about this while being empathetic to those who view time as the biggest risk in life. So in this frenzy, and associated logistical challenges, interaction becomes challenging and staying true to this fact that we are all aware of and yet do not prefer to consider deeply, causes rifts and misunderstanding.

There is a fine line between being aware of the superficial demands of time on the one hand and being inconsiderate and irresponsible on the other. So the challenge is in relationships where a distinction can be considered empathetically and patiently.

What are your favourite creative places and spaces?

Being in expansive environments that are “non space” due to there being no borders is always broadening. There is a sense of not being an individual that is separate from surroundings. No matter how significant one’s ability to manipulate material is, the expansiveness that is outside the limits of city life with its focus on the individual, creates a sense of freedom, acceptance and abandon.

Equally, being able to have this sense when looking at amazing craft dedication, exceptional kindness, rare patience and simple approaches, viewed with the understanding of the limitations of the individualistic mentality, has the same effect, when there is keen and effortless interest.

The thing though is not to use this space or non space, whether nature or an incredible building as a main ingredient. And as something necessary. How good could it be if it were normal to have nothing but great spaces?