A Lazerian Process

A Conversation with Liam Hopkins

Lazerian is a multidisciplinary creative studio founded in 2006 by Liam Hopkins. Based out of a combined workshop and design studio in a former hat factory in Denton, Manchester, Lazerian creates large-scale artworks, public art installations, bespoke sculptural commissions, interiors, custom-made furniture, and brand promotional objects.

I read that as a child, you were already interested in how things and objects worked. What do you attribute that early curiosity to?

I believe it was something that is in my genes and instilled into me from a young age, as my family is quite creative and inquisitive. My dad was a joiner and always making things. When he moved over from Ireland, he lived in London for a while before moving up North, and he worked at Pinewood Studio building sets—in fact, he was instrumental in building a lot of the James Bond sets. Through a lot of observation and play, I gained knowledge. I was always messing about with cars and experimenting with things. I also used to pull machines apart and wanted to know how they worked—I guess that was just a natural curiosity and something I’ve always had, so I don’t really know any different. At thirteen, I bought a Lambretta scooter, and by fourteen, I was restoring classic Vespas and Lambrettas at a scooter shop. I also bought and rebuilt a classic mini for fifty pounds! You learn so much from taking something apart and rebuilding it, to as it was or better; the way all these instruments and parts work together as one has always been fascinating to me.

Do you see a continuity between the child who disassembles objects and the adult who designs large projects? In what ways does it manifest?

Yes, most definitely. With a lot of projects I get involved in, there is a lot of R&D time allocated to pushing boundaries and seeing how far I can take things. I think it manifests in a way where I want to make things bigger and better in the experimental parts of what I do. I do believe that the foundational skills, traits, and curiosity developed during childhood exploration can evolve and find expression in the more complex and sophisticated endeavors of adulthood. My passion for exploration has certainly come through manifesting as a drive to explore and push the boundaries of what is possible in the design of large projects. The hands-on experience I gained as a child disassembling objects has only grown, and I think it taught me a lot about how disassembling objects often requires attention to detail and noticing how each part contributes to the whole. In the design of large projects, similar attention to detail is crucial to ensure that every element is considered for functionality, efficiency, and aesthetics. It also taught me a lot about patience, how things can’t be rushed or thrown together, and the importance of splitting a project into stages.

Is there a creative discipline that you feel more connected to or that allows you to express yourself more personally?

I wouldn’t say I am particularly connected to one in particular as the variety and diversity of using different disciplines is what makes this job so interesting to me. Although I do enjoy working with cardboard. I like to manipulate what it can do and show the durability and strength it offers. I like the simplicity of cardboard and paper, materials that people discard without much thought. I love to model with these – if I can create the form in paper or card I know I can translate this into other materials. As an artist, I find a profound connection and personal expression in the discipline of creating. Sculpture allows me to translate my thoughts, emotions, and visions into tangible, three-dimensional forms. The tactile nature of working with various materials, be it metal, card, wood, or other mediums, provides a unique avenue for me to express myself artistically. The process of sculpting, from conceptualizing an idea to physically shaping the material, allows me to engage with my creativity on a deeply personal level. Each piece I create becomes a manifestation of my artistic identity, reflecting my experiences, perspectives, and artistic journey. The act of sculpting is not just a technical skill; it’s an intimate exploration of self-expression. The ability to transform raw materials into expressive and evocative sculptures grants me a sense of fulfillment and authenticity. Whether I’m working on abstract forms or figurative representations, sculpting allows me to communicate narratives, provoke emotions, and share my worldview with others. In essence, sculpture serves as a powerful and personal means of artistic expression for me, providing a unique platform through which I can convey the depth and complexity of my creative vision.

How do you transition from disassembling objects to being interested in art and design?

I studied 3D design at college and university and decided that I wanted to pursue a career in the creative industry. Originally, I wanted to become an architect, but didn’t feel I could utilize my making skills quite as much as I do now. Whilst at university, I used savings to start to purchase small essential machinery and then rented a small workshop in an old cotton mill in a small town called Mossley. I was chosen to exhibit at New Designers as part of my university work and then slowly started to get noticed for the furniture I was designing at the time. I always had a vested interest in art and design and used to draw and paint a lot when I was younger, which cultivated my artistic side. Everyone’s story is different, but it does take a lot of hard work and perseverance. I think a lot of people think that it comes easily, but a lot of blood, sweat, and tears are created to try to get a successful business in any sector, especially the creative one. Everything is designed, and I love how I can merge the functional design elements with an artistic eye to create things that sometimes have a function and other times are purely a statement piece to enjoy and stimulate conversation.

You learn so much from taking something apart and rebuilding it, to as it was or better; the way all these instruments and parts work together as one has always been fascinating to me.

— Liam Hopkins, Artist and Designer

Let’s talk about Lazerian. First and foremost, who is Gerald?

I wanted a mascot that wasn’t stuck to a language and could be appreciated by anyone. It needed to sum up what I do, which is to bring 2D to 3D. From this, Gerald the dog was born. Gerald is the Lazerian mascot and has been representing Lazerian for the majority of the studio’s existence. He is an Italian Bracco breed, known to be a hard-working, driven, and smart dog. Dogs are a man’s best friend and are known for their most important quality—loyalty—which is an important aspect of the Lazerian brand and its customers. With the style of the Gerald logo, the dog has a strong posture of readiness and pride. The style of the logo also emphasizes a specific trait: the animal is grounded, and the lines are elegant—much like the style of work that Lazerian can portray. Gerald was the protégé of a Lazerian project in which over 100 artists, designers, and creatives were invited to design Gerald a fresh new coat. The international project consisted of 120 paper dogs exhibited in New York, Milan, and London and elevated Lazerian as an art and design studio. The paper model, standing on four legs with its nose in the air, consists of 88 individual paper pieces for each large format dog. This construction exemplifies good design, imparting strength and grace to a commonly overlooked material.

Your studio has a reputation for pushing boundaries in the world of art and design. What innovations or trends do you see shaping the future of design?

I tend to try not to follow trends as a rule, but it is obviously always a good idea to look at what’s out there and keep on top of the latest innovations and methods that can help me push boundaries. I always believe that Sustainable and Regenerative Design will be a continuing factor for the foreseeable future. There will be a continued focus on sustainability and a shift toward regenerative design, emphasizing environmentally friendly practices and materials. A shift toward the use of digital twins, virtual, and augmented reality to enhance the design process, allowing for more immersive experiences and precise simulations, will be something that develops further. This will also include generative design, such as leveraging algorithms and artificial intelligence to create design solutions, optimizing for various parameters, and producing complex and efficient structures. Continued advancements in 3D printing and additive manufacturing will enable more complex and customizable designs with reduced waste. There will be greater emphasis on a circular economy and upcycling, encouraging the reuse, recycling, and repurposing of materials. It’s essential to stay updated on the latest developments and trends within the design industry, as innovation is a continuous process with new ideas emerging regularly, although the specific direction of innovation may vary across different design disciplines, such as product design, graphic design, architecture, and more.

What is the daily creative process like at Lazerian? How do you and your team maintain a consistently innovative and experimental approach to projects?

Every day is completely different, and every project is truly unique, so the creative process can vary depending on the motivation. However, when a project comes in, there is the initial R&D stage, which consists of research (depending on the project, this could be into the culture or history of a place or could be looking at connections to certain areas and buildings, etc.). The design stage is always done by myself. Within the team, everyone has their own specialist skills, whether mechanical or physical. As we work with a variety of different materials (anything from cardboard to metal) and various processes, the team members do have a good understanding of each, but we use their specialist skill sets to our advantage. From exhibitions to everyday general buildings and structures, my inspiration is stimulated as to how something is constructed or composed. I’ve also loved just playing around in the workshop, which has given me a library of knowledge of mistakes, methods, processes, and material manipulations, which are constantly evolving. When new projects come in, I can go into my library and see if any of these experiments can start the idea rolling.

Your team possesses a diverse skill set. Can you share how this diversity enhances your approach to projects and contributes to your studio’s unique style?

One of the most important things for Lazerian is that we have a diverse skill set. It can help to enhance the creativity of what we do, as well as make us adaptable and allow us to stand out from the competition and be innovative and unique in the projects we do. Our studio style is essentially a deep understanding of the multifaceted nature of design, as well as the uniqueness we offer. By having different skill sets, we can translate them into different problem-solving approaches, as well as offer creative solutions that actually work. The diverse skill set allows Lazerian to handle a wide range of projects with various styles, themes, and mediums. Being versatile allows us to cater to a broader client base and take advantage of projects with different requirements, which always makes things interesting.

The ‘Message in a Bottle’ sculpture is an intriguing representation of the circular economy. Could you share how this artwork encourages discussions about environmental impact and the future of sustainability?

At first glance, the sculpture appears to be a plastic tree inside a two-meter bottle, but upon closer inspection, it’s revealed to be a representation of the ‘circular economy’— it is about reusing products rather than scrapping them and using new resources. Through the idea of ‘creating another bottle,’ the sculpture encourages people to look at the transformative power of our everyday choices and decisions. Essentially, it’s designed to make people think about the future of the planet and how everyone has a part to play it. It is fun and interactive, too. People can write an environmental promise or a pledge on a piece of seeded paper and post it into the bottle. These will then bloom into wildflowers, representing renewal and natural growth, as well as creating a spectacular evolving piece of art. The ‘Message in a Bottle’ sculpture is crafted from PET (polyethylene terephthalate) materials made up of 100% recycled plastic bottles, which have been shredded and melted down to create an incredibly durable material. Then the seeded paper brings the metaphor of growing beauty surrounding the tree, just as word will spread and meaning will grow from the experience of seeing the sculpture. Small, daily decisions are really what this is all about if we’re to create a better future.

Your ‘Morpheus’ sculpture at the RHS Chelsea Flower Show is impressive. Could you share the story behind this 3D site-specific exterior piece and its significance in the Manchester Garden?

The ‘Morpheus’ sculpture showcased at the 2019 RHS Chelsea Flower Show holds a significant place within the Manchester Garden, featured in the “Space to Grow” category. This site-specific outdoor piece was part of the garden’s narrative that celebrated the rejuvenation of Greater Manchester and emphasized the importance of green spaces and sustainability in post-industrial cities. Named after the Ancient Greek word “ ,” meaning ‘form’ or ‘shape,’ Morpheus symbolizes the evolution from Manchester’s cotton industry (Cottonopolis) to the birthplace of Graphene. The sculpture’s narrative journey unfolds across cultivated zones, starting from the rear corner of the garden and ascending gracefully to represent the rise of the cotton industry. It then descends beneath the paving, symbolizing slumber or a dream-like state before emerging again to signify the path to the realm of graphene. The sculpture seamlessly integrates with the surroundings, blending natural and built elements. Its form was derived from a hexagonal grid mirroring the molecular arrangement in both Cotton and Graphene. Crafted from carbon fiber with meticulous hand-cutting and finishing, Morpheus represents a fusion of traditional craftsmanship and contemporary technology. This process not only built tension and fluidity within the sculpture but also allowed for the gradual integration of planting over time, emphasizing sustainability. Overall, Morpheus encapsulates the story of Manchester’s industrial evolution and resilience, embodying the garden’s themes of adaptation and rejuvenation in post-industrial cities.

Sustainability is a growing concern in the creative industries. How does Lazerian incorporate sustainable practices into its work, and how do you see sustainability evolving in the world of design?

Sustainability is a huge part of what I do at Lazerian. I have wanted to be known for this since I founded the studio nearly twenty years ago, and I’ve always wanted it to be a large factor in the projects I’ve done over the years. At Lazerian, I have always looked into materials and processes that have as little impact on the environment as possible. I have also always been interested in materials that have already had a life. They hold stories and marks of use, which give them character and charm. Being able to use this to create something different from it is super exciting. I have always felt like I have a purpose as a protector or guardian of numerous items over the years, to stop them from being destroyed or lost, especially if they have become broken or are no longer in style. Within my creative career, I have been involved in helping to restore buildings that are over two hundred years old and will now (due to my input) survive for a further two hundred years. I have also restored vehicles that are over sixty years old and created a mobile studio so it can be taken on the road to design wherever I wish. These ethics translate into the work as well, instilling stories into projects through the reuse of materials. Sustainability has been evolving for a while now, but I believe a lot more biomaterials will become more readily available as the need for the reuse of materials becomes more accepted.

How do you see art being integrated into a real estate project? How would it add value to the project?

As an artist, I see art being integrated into a real estate project as an incredible opportunity to transform spaces and add immense value. When my artistic vision is combined with the architectural design and functionality of a building, the result is a truly captivating and immersive experience for residents and visitors alike. Art has the power to breathe life into any space, turning it into a unique and visually stunning environment. Whether it’s creating largescale installations, vibrant murals, or intricate sculptures, my art can bring a sense of identity and personality to a real estate project. By carefully selecting and placing artwork, I can enhance the aesthetic appeal of the building and make it stand out in the surrounding landscape. But art integration goes beyond mere decoration. It adds depth and meaning to a space, allowing me to tell stories, evoke emotions, and create a sense of connection. Through my artwork, I can create a dialogue with the viewers, inviting them to engage, contemplate, and explore the space on a deeper level. The presence of art sparks conversations, fosters creativity, and creates a sense of community among those who interact with it. Moreover, integrating art into a real estate project adds significant value both in terms of financial appreciation and quality of life. Art can increase the property value of a development, attracting potential buyers and tenants who appreciate the cultural and artistic aspects of the space. Additionally, the presence of art enhances the overall experience for residents, providing them with a stimulating and inspiring environment that promotes well-being and personal expression. Collaborating with developers and architects allows me to be part of a larger creative process. By working closely with them, I can ensure that my art complements the architectural vision and serves the needs of the space. This collaborative approach not only enriches the final outcome but also fosters a sense of synergy between different disciplines and creates a holistic experience for all who engage with the project. In conclusion, as an artist, integrating art into a real estate project is a thrilling opportunity to transform spaces and add significant value. It allows me to express my creativity, engage with viewers, and contribute to the overall aesthetic and experiential qualities of the development. Through art, I can create spaces that inspire, captivate, and leave a lasting impression on all who encounter them.—