India’s maximum sought-after furniture maker

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Choosing wooden for a chunk of furnishings is a lot like choosing hues for a portrayal,” says Vincent Roy, whose reverence for timber has not even remotely dimmed with time—or reputation, for that matter. The Pondicherry-primarily based Frenchman haappears amongst India’s most sought-after furniture makers, robotically commissioned by top architects and interior designers to create customized pieces ando grant cafes, boutiques, and consulates.

Pondicherry Furniture-Maker: Finding Home Here

Roy first arrived in India in 2008 to help cabinetmaker Patrick Laffourcade with the healing work of Notre Dame des Anges, a vintage church in the French area of Pondicherry. Born and raised in Cognac, he admits to a love-at-first-sight second when he first set foot here 11 years ago, as a 21-12 months-antique backpacker: “I fell in love with the millions of possibilities India offers. After a year, I decided to discover Asia’s relaxation and traveled and labored as a carpenter in Thailand, Vietnam, Cambodia, Laos, and Indonesia. But even despite everything that point, I overlooked India deeply and, in the end, decided to return and install my domestic and studio right here.”

Pondicherry Furniture-Maker: Pace of Profession

Roy is extremely excited—and mildly baffled—about the pace at which carpentry progresses in India. “Suddenly, it seems everyone wants to be an architect and dressmaker! Be aware that the engineering enterprise here is swiftly developing a much broader desire for advanced carpentry equipment and machines. Still, the style and strategies of the craft make it such an exciting vicinity for paintings. Rajasthan, on my own, has a lot of crafts, and there are many gifted fingers prepared and inclined to collaborate.”

Pondicherry Furniture-Maker: Creating a Distinctive Signature

He ordinarily works with antique beams sourced from vintage Tamilian homes and Burma teak used by the British and the Chettiars (a Tamilian merchant network). Though Pondicherry has a long record of native woodworking and thrives on colonial reproductions, Roy’s works have a specific signature that speaks of a current, minimalistic design wrought in uncomplicated strains rooted in Scandinavian furnishings design from 1920 to 1970. Everything he creates is built with traditional joinery—sanded and polished by hand to a nice end.

These days, he’s busy experimenting with a historic Japanese method, Shou sugi ban, which includes keeping wood by using the first ring of the timber to a charred floor, treating it with special oils. Shou sugi ban is time-consuming and calls for mild arms and persistence; however, it rewards its practitioner with indescribable satisfaction and pleasure. Undoubtedly, there are incomparable moments of peace and evolution to be determined in these traditional craftsmanship practices. Still, for Roy, the whole thing, by and large, comes lower back to India: “I feel unfastened here.”

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