Collect 2018: Q&A with Hana Al-Sayed

You might have noticed that the photography for Collect 2018 is pretty damn special. With its angular set, shadow play and a less-is-more attitude that has us minimalists positively salivating, the shoot is the result of an inspired collaboration between creative director Hana Al-Sayed and photographer Jake Curtis.  

Given that Collect is the UK’s largest showcase of global craft, creating a series of images that sums up the feel of the fair and the type of objects that you’ll find there is quite the feat. Firstly, there’s just so much to choose from. There’ll be 40 galleries from four continents taking over the Saatchi Gallery between 22 and 25 February, not to mention 14 special Collect Open commissions and a whole host of talks. Secondly, communicating the tactility and immense detail of craft pieces can be challenging in 2D. Hana and Jake rose to the challenge with such panache, we couldn’t resist quizzing them about the process.

During their 10-hour shoot, the duo developed a suite of images that really nail the essence of each of the objects. Ashraf Hanna’s curvaceous pots look as though they’re billowing in the wind, Marc Ricourt’s wooden vase feels as spiky as a sea urchin and Romilly Saumarez Smith’s multi-threaded necklace is radiating light every which way – echoed in a clever reflection underneath. Never has photography been so haptic. Over to Hana...

What appealed to you about the Collect 2018 shoot?

Several elements really. I visit the show every year so know the standard of work is exceptional. I suppose there was also intrigue to see the pieces up close and as personal as it gets without owning them. I have always been a huge fan of the Crafts Council too from my university days when it was really the only voice discussing modern crafts. It felt like a real honour to be asked to be involved.

What was the brief?

The aim was to modernise the overall feel of the final imagery and showcase the diversity of the work in a more harmonious way. We wanted to paint an elegance that reflected the incredibly high level of craftsmanship involved in the making of all the objects we shot.

Tell us a little about the creative vision behind the project…

It’s so important to get a sense of the pieces, so my starting point is always to get a gauge on the scales, textures, materials and so on. It felt important to include some modern-feeling materials, like perspex, glass and tape. There needed to be a subtle mix of texture, from wood and smoother surfaces, as well as room to play with light and geometry so that the set could be manipulated to suit each piece or group of pieces. We referenced a shoot we had worked on successfully earlier in the year for magazine Hole & Corner, which was based on the concept of performance. I carried that idea with me when styling this shoot. Each object was the star and needed to be the most important focal point. The set is there to compliment and help to elevate the craft work. It’s always a matter of finding that balancing point, where the set feels complete, uninterrupted and to a degree inconspicuous.

You’ve collaborated with photographer Jake Curtis before. Why do your individual approaches work well together?

Jake has a fantastic way with light. He paints with it and creates a mood with it effortlessly. We often sit and discuss ideas for a shoot, how we would like to work,  particular things we are interested in pursuing or ways that we could push ideas from the last shoot forward. His nature allows the mood on set to be calm and relaxed, which in turn gives me space to create without intruding on his way of working. He is involved and interested in how all aspects of the shoot work. It’s always an absolute pleasure to work with him.

What do you admire about Jake’s work?

His work is hugely diverse and at the same time consistently strong. He seems to pull the most astounding portraits out from his subjects. He has a mastery over light in his larger set builds and shows a delicacy and intensity in his still life work. There is a lot to admire.

As creatives, why is collaboration so important?

Without collaboration, there is no-one to bounce an idea about with. Without it you can get tunnel vision – you can really miss a trick or be blindsided by your own internal dialogue. I certainly need to work with others. Aside from anything else, it’s wonderful to be part of a team.

Do you have a favourite exhibit from Collect 2018? And why?

My heart is always in metalwork as I trained as a jeweller. Although I would never describe her piece as metalwork – it is fine jewellery – one of my favourites has to be the ring by Romilly Saumarez Smith.