Starting with the essential functional elements of familiar forms, I refine and recreate them in original, simple and meaningful, structures. This approach sometimes adds complexity, other times it simplifies things. But in all cases, the process of dissection and restructuring is revealing to me. It leads me to think about those qualities most inherent to common forms, qualities that as often as not go unquestioned or are taken for granted. It is a designer's approach, as opposed to an aesthetician's. Beauty is as important to me as any other element of a design, but the beauty I'm after is spare. It's the thing itself in the economy of its form, not an elaboration.
Noah started working in clay in 1999, spurred by his interest in industrial design. He considered ceramics a first, accessible step towards a broader knowledge of materials and production methods that would ultimately inform his own independent product design business. He steered his education to encompass a variety of experience, including scholastic learning, managing a wholesale production studio, a traditional two-year apprenticeship under a master potter, and operating his own pottery business. Along the way, as he developed a deeper respect for old methods of production, he let go of intentions to mass-produce. Though his work still draws from the Organic Modern movement of design pioneered by figures like Alvar Aalto, Eero Saarinen, and Charles and Ray Eames, his approach is tempered by traditional production methods.