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HK: We were kind of single-minded about the whole thing, we actually turned down a lot of funding opportunities mostly commercial, with brands etc because they werent right which I am very happy about now.
One of our most gifted design engineers is Japanese and studied fashion. You both graduated from the RCA, which recently came under scrutiny after the cancellation of the renowned Design Interactions course.
We could probably make quite a lot of money if we did that, but its not the kind of money we want to make. FO: Actually, let us think about this Well have a word quickly!
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Laughs. HK: Carpenters Workshop Gallery distribute a few of our works, and they manage the find the right people, but its rare. We really need people who buy our work to love it, we need trust.
What was your experience like as students, and what do you think these issues are saying about art and design education today? HK: It really hurts. We actually contacted the RCAs Rector recently to discuss.
HK: The RCA really excels in grouping creatives together. Rain Room was initially funded by the Maxine Stuart Frankel Foundation, is that relationship still ongoing? HK: Very much so, and the.
If something goes wrong which it regularly does with technology there needs to be a dialogue. The gallery world is an interesting arena for us but we have remained fairly autonomous in the market.
FO: It wasnt working very well at first! Our studio was completely flooded. HK: Then they asked to figure out a way to present it publicly, by which time we had started conversations with the Barbican, where it went a year later.
If you are based in London, you will most likely remember The Rain Room: the talked-about art installation of, which enabled visitors to miraculously step into torrential rain without ever getting wet.