MADE IN ENGLAND, Creative Series: JOBE BURNS
Defining your craft and following your creative instincts takes determination, grit and an overarching sense of resilience. But creativity flows via many streams, each needing its own careful navigation on route to a desired destination. In partnership with DR.Marten’s the "MADE IN ENGLAND: Creative Series" is a sequence of studio visits with British creatives, all of which embody an enduring commitment to building something visceral, tactile and made to last.
For the first in the series we visit the studio of Jobe Burns, a London based Spacial Designer and Sculptor. Jobe’s work channels his upbringing in the Industrial west midlands through exploring the relationship with tactile materials, and how we as humans interact with them in our own spaces /
TNO: Jobe thanks for taking the time out for us to come visit your studio, for those readers who are not familiar with you and your work can you give them a bit of an introduction?
JB: Sure, My name is Jobe Burns, born and raised in Walsall, now based in London. I work across multiple mediums, including Sculpture, industrial design & Architecture.
How did your journey into the creative fields begin?
It really began when I was about 15/16 buying, customising and selling garments in Birmingham. Slowly that turned into me working at a few fashion companies until I began to study Spatial Design at Chelsea College of Arts.
Were you always more about the hands on approach to your craft rather than digital realms?
Yeah definitely, the digital has mostly been there for me as a tool to aid the communication ideas rather it being the direct output. I’ve always been more captivated by the physical beauty of things, it probably stems watching my dad be so hands on with work growing up. Also, I spent a lot more time growing up engaging with sports and physical activity rather than being heavy into gaming culture. However, I have a great appreciation for the digital and the capabilities of that space.
Can you tell us about the journey from sculpture into larger scale projects such as interiors and home renovation?
Absolutely. As I mentioned prior, I studied Spatial Design at Chelsea to really grow my understanding of design but I found myself skipping class to go to the workshops and work on sculptures, pretending they were my uni projects so they would let me in.
The 2 practices have always been relevant mediums for my life. My sculpture work is partially routed in notions of metropolitan spaces, so it was more of a natural progression to expand these ideas into installation and architecture too. The route of the ideas comes from the same source, although the output is far more pragmatic and utilitarian, the input is the same. A connected, holistic approach to creating is ultimately the most fulfilling; world building.
Your practice is based in London, what do you think the city brings to your work?
It’s actually something I’ve been toying with post Covid. Do I need to be in the city? But I love it here, I love the energy, the pace, the variety of people, the risk. It’s unmatched.
Prior to being in London, it was pretty small town ideals; no real understanding of subcultures, zeitgeist, future building etc. There isn’t much space for that where I grew up, so my move to London shifted my perspective into a more enthusiastic optimism. If anything, the city has allowed me to be so diverse in my output but also to understand my personal context in the world. Removing yourself from 20 years in one environment is a shock, but a positive one, one which helps me look at life more objectively.
“I’m heavily inspired by British craft… ceramicists, sculptors, period architecture, blacksmiths etc
the material history of stone and steel is really something special”
Your work with Samuel Ross on Concrete Objects has been quiet of late, are you guys planning anything in the near future?
We’re both extremely busy at the moment so not right now, but who knows what the future holds.
Can you tell us more about ORBE’s vision or mandate?
Sure, essentially ORBE is a living idea that will focus its efforts across Objects, Sculpture, Furniture, Spatial Design/Installation and Architecture to communicate nuances around connectivity, wellbeing, support, craft, and play.
How does being a British Artist sit with you? Would you say you draw a lot from that identity..?
There’s a lot of fascinating nuances at play. Generally, I love it and I’m grateful that I have the privilege to do what I do, however It does come with its dark sides. The history isn’t one to be ignored and I was fairly unaware of it until my late teens, with my perspective shifting again during the events in 2020. With this being said, I am currently more engaged with the individual experience than I am the group one, however this creates an inner dialogue about group identity and experience, and the effects of such.
Are there any key characteristics in your work that come from being British?
I think that’s what it is to be British, understanding the relationship between the group and the individual. Although, I’m heavily inspired by British craft; ceramicists, sculptors, period architecture, blacksmiths etc; the material history and the use of stone and steel is really something special.
What does "Made in England” mean to you…
Heritage, Craft and Quality. Especially been raised in the midlands, it was the hub of industrialised production, and there is still a lot of it there. The foundries, the mills, the farms etc.
Self reliance and resilience are key to pushing yourself in the creative fields, what do you draw on most to keep pushing yourself in your work.
I always think about the future. I’m excited and optimistic about what is to come and I want to be a part of that. However, that does need to be met with constant action. I find a full circle approach is best; Eat well, train well, work as hard as possible, try and get 7 hours sleep. Routine is best and reaffirming my goals regularly for clarity.
Creating something that is made to last or endure is something many strive for in their work. How do you view that or approach it in your own practice?
I believe any output should be grounded with as much input as possible, the idea behind something is often more important than the thing itself. We’re constantly questioning, pivoting, adapting, reiterating, and unless we FEEL the quality, we go again. Quality is non-negotiable.
Finally… what can we expect from you in the near future?
ORBE will be showcasing multiple ideas this year, followed by Architectural builds by end of year & a few collaborative projects in between.
Jobe wears the “MADE IN ENGLAND” 1461 in Black Quilon, available to purchase online at drmartens.com