When I was six I found a small handbook on rocks and minerals in a junk shop. I read it cover to cover. Then again. The world beneath my feet became the most interesting place I knew. Long before I had a name for it, I was a tactile creator. Touch has always led my exploration.

I studied literature and linguistics before finding industrial design, the discipline that let me move beyond words and into objects. I trained under Geoffrey Mance, a pioneering Melbourne lighting designer who passed me the baton to continue handing down knowledge from those who came before. Nothing exists in a vacuum. There is always a continuity, a thread woven from the works of our ancestors.

On 11-11-11 I launched my own studio; a date chosen with the deliberate symbolism that characterises everything we do. The crystalline structures I love to collect contain innate stories of creation, colour, complexity, and timelessness. We come from dust and return to dust. The work of the studio is an extension of that truth: Translating the language of nature. Creating objects that live beyond our lifetimes, telling our precious stories long after we’ve gone.

– Christopher

A candid conversation with Dana Tomić Hughes, Yellowtrace here

The studio of Christopher Boots was founded on the principle of Fiat Lux: Let there be Light.

Established 11-11-11 through metaphysical and material exploration of quartz crystal, the studio gave birth to a signature aesthetic: exploring relationships between nature, architecture, symbology, geometry, and geology, offering contemporary interpretations of structure, symmetry and pattern.

The studio engages in deep research into the history of materials and techniques, to understand what can be adapted and reinterpreted for contemporary work. A commission is the result of an interactive dialogue, a curious exploration. The process is as unique as the people, and the project at hand. The goal remains the same: an evolution toward beautiful, timeless work.

A diverse team of skilled artisans designs, prototypes and builds every piece by hand in Melbourne. The studio operates on a principle as old as the mediaeval guilds: knowledge is transmitted from hand to hand, maker to maker. Collaborations with glass blowers, bronze foundries, sculptors, metalsmiths and stonemasons sustain this chain: each partnership underscoring an investigative sensibility, giving birth to collections both alluring and unexpectedly visceral.

Honouring traditional elements of form, proportion and scale, marrying traditional and cutting-edge materials with various techniques, creating future collectibles designed for transforming architecture, is the legacy of the studio’s work.

The work has been displayed at Hermès, Rossana Orlandi, the National Gallery of Victoria, Parliament House, and Cassina, with commissions for Cartier in Sydney, Shanghai and New York, and pieces held in private collections across four continents.

We acknowledge the Traditional Custodians of the land upon which we work. We pay our respects to Elders, past and present, whose knowledge and wisdom ensure the continuation of cultures and traditional practices.

Every space has a story. Every project begins with a dialogue.
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