Felix Grech | McMullin Journal

In collaboration with local object and set designer Felix Grech, we’ve created an installation that captures McMullin’s shift away from mass production, focusing on unique pieces crafted from sustainable, durable materials. At the heart of McMullin’s ethos is a commitment to sustainability—each piece is designed for longevity and everyday use, embodying quality that endures. Felix’s installation brings this vision to life, showcasing premium, one-of-a-kind designs that stand the test of time. We asked Felix a few questions on his journey and experience creating this installation.

We sat down with Felix to discuss his journey, inspirations, and the creative process behind this installation. Here’s what he had to share.

Can you tell us about how your journey in design began?

I think my journey started at home, really. My dad was an architect, so I spent hours in his office, cutting and gluing balsa wood to make models—not always houses, mind you; often, they were just strange little constructions I dreamt up. My mum, on the other hand, was a landscaper and sculptor, always working on interesting projects.

Later, I studied Industrial Design but was constantly drawn to making things—working as a ceramicist, then a shipwright. Those experiences gave me an appreciation for the unexpected in materials and processes.

How did working with McMullin's materials and ethos influence your design approach for this installation?

Well funnily this project started before I met with Alice and the team at Mcmullin. A banksia tree near my house had been cut down, and the logs were left there, too big to chip. I roped in some friends, loaded them into my car over a few trips, and brought them back to my studio.

When I spoke to Alice and the McMullin team, it became apparent the logs would be the perfect material to use for this project. We decided to use the banksia logs, along with timber offcuts I’d collected from local makers. McMullin’s ethos felt like an extension of this, finding potential in overlooked materials, and letting them guide the design process.

Were there any specific sustainable materials or techniques you were especially excited to incorporate?

Yes, all the materials were salvaged—either from the banksia tree or offcuts from local furniture makers. I love the character that comes with reused materials. They have a kind of history embedded in them—imperfections, textures, shapes you don’t get from something new.

One of the most exciting parts of this project was working out how to break down the banksia logs. They were these massive, knotty pieces that wouldn’t go through a bandsaw or but were too small for a milling machine. I ended up using an industrial log splitter. The timber split along its natural grain, creating these wonderfully irregular, organic shapes. That process dictated the forms of the sculptures—no two pieces are the same, and you can see the story of the wood in every split.

Could you walk us through the steps of creating this installation, from initial sketches to final setup? How did the materials you selected shape the journey?

For me, the material always comes first. In this case, it was the salvaged timber—the banksia logs and offcuts. I tend to skip sketching; instead, I experiment with the material itself, looking for a process that highlights its unique qualities. Raw materials are fascinating to me—there’s a beauty in imperfections and a rawness that I love. It shows where the material has come from, its previous life.

With the logs, I spent weeks trying to work out how to break them down. They were too small to mill and too big for conventional tools, the log splitter turned out to be an interesting solution. The grain of the wood dictated how the pieces split, creating these wonderfully unpredictable forms. I laid all the split pieces out in my studio, and from there, it was like assembling a puzzle—using the grain to guide how the blocks connected visually and structurally. The process became the design.

What do you hope people will take away from experiencing this installation? Is there a particular message about sustainability or creativity you wanted to convey?

I want people to see the potential in what’s already around us. There’s so much waste in the world - it’s easy to overlook materials that don’t fit neatly into our processes. But those imperfections, those irregularities, are what make things interesting.

This installation is about showing how salvaged materials can have a second life, full of beauty and meaning. Creativity isn’t about starting with a blank slate; it’s about responding to what’s there, letting the material lead, and discovering the unexpected.

Artist: Felix Grech

Photographer: Nic Gossage