The Art of Illumination with Lana Launay
Lana Launay is a self-taught Australian artist and designer whose sculptural lighting pieces blend functionality with artistry. Crafted from thoughtfully sourced materials, these objects of beauty elevate the experience of everyday spaces. We visited Lana at her serene studio in Sydney’s Northern Beaches to learn how resilience inspires and informs her work.
Photography by Nic Gossage
Tell us about your childhood. Do you come from a creative family?
My father is a record producer and sound engineer, my mother is a multidisciplinary artist and sculptor, and my brother is an art director. There are no 9 to 5 jobs in my family, even within my extended family, so my upbringing was expressive and transient.My childhood began in the UK, then to Australia and a bit of the USA. We primarily lived in Sydney with our mother and would travel to stay with our father in LA each summer. He kept us immersed in musical experiences while she encouraged us to be artistic and resourceful.
I’m grateful to have had the exposure and influence of creative freedom from a young age.
When did you start making art, and what inspired you to pursue it as a vocation?
The start was childhood – my earliest art memories were my mum’s mosaic slabs or paintings. In my teens it was a textile focus, and in my 20s it was jewellery design and making. I considered it all just creative release. During the pandemic I returned to a previously abandoned curiosity with lighting and fooled around with a lampshade project. I realised that you can really do and make whatever you want in life, so I used that as fuel to persist and lighting took precedence.
What are some of the prevailing themes explored in your work?
Aesthetically, I’m mostly inspired by Brutalist sculpture, organic architecture and sci-fi set design so I think these elements are visible throughout my collections.
I admire the raw freedom and expression you see in Brutalist sculpture and art.
I watch a lot of films and find science fiction to be the most inspiring genre because the absurdity is limitless. I’m always seeking reminders to be less restrictive with myself and to design something with character.
Describe your process. Is it instinctual or more purposeful, with an end result in mind?
It’s a bit of both. I approach it as an object or sculptural piece first and then consider the illumination element. I also design lighting for myself first, what I want to own or what I want to experiment with – I’ve found my best and most authentic work evolves from this intention. The vision is clear in my mind and then I build a prototype to experiment with the shape and functionality.
"Resilience provides power to push through and evolve as a person and an artist."
Your lighting is crafted from materials such as paper, yarn, textiles, metal and wood. How important is it to you where they come from and what their environmental impact is?
When I started, I aimed to only use hard materials that were recyclable and soft textiles that are naturally formed or could biodegrade in the distant future. I still consider this intention in every new design, thought it can be restricting. I prefer to use plant-based paper and washi over most textile fabrics because I find the glow more consistent while the fibres are more unique and sporadic.
The blessing and curse of using paper is the fragility. It offers a delicate beauty but is not as durable. I seal most of my paper lights and have been soaking paper in beeswax in my more recent work. It offers a drumskin-like finish, offers a glow even without light and remains a natural resource.
At Armadillo, we’re all about designing objects with meaning. Are there any pieces you’ve created that hold particular sentimentality?
I designed the USO Table Lamp during a difficult time this year. I was experiencing a loss and coping with the shock of an illness in my family. I designed this lamp as a distraction and a bit of a mental escape from it all. The design inspiration is far from the sentimentality, but it will always remind me of a time of resilience.
Your studio is beautiful. What do you need in your environment to foster creativity?
Thank you! I have design boards where I pin images and specifications of my works along with design and colour references to grow new ideas from.
I have two alternating assistants that bring new energy in and we just drink tea, chat and listen to music while we work, which sets a joyful pace.
When I am working alone, I can foster thoughts for what’s next.
You’re based between Sydney and Los Angeles. What do you love about the design scenes in each city?
I love the pace of the LA design and art scene –it seems forever churning and there’s no shortage of new design. I’ve found the US market always wants something new and holds desire for individuality, which keeps me really motivated to evolve and persist. Sydney has a much slower pace within the market, which is grounding and offers time to consider each move and practice intention. There’s a wonderful community of makers in and outside of Sydney that’s welcoming and always open to collaborate.
As far as design inspiration, I find I am more intrigued by LA due to the diversity and history of architecture. From where I usually stay, it’s just a drive to 1930s Spanish Colonial architecture, old Hollywood gems like Bela Lugosi’s house, [Frank Lloyd] Wright’s Ennis House and Hollyhock House, [John] Lautner’s Garcia House and Chemosphere, Frank Gehry’s concert hall – all of which have inspired aspects of my works whether it be exterior or interior reference.
Have you drawn any life lessons from your craft?
My craft teaches me to be patient and to remind myself of my intentions.It has also provided me the luxury to be self-employed, which teaches me to find balance within my life. I am still yet to master this lesson.
Finally, what’s inspiring you at the moment?
Perseverance has been a theme for myself and people in my life this year.
I am inspired by resilience, and witnessing it provides perspective and power to push through and evolve as a person and as an artist.
