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Collect 2026: Metamorphosis and the Polish Design Connection

Collect 2026: Metamorphosis and the Polish Design Connection

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 Have you ever wondered why we feel so alive when we’re surrounded by nature? Why certain textures, materials, or natural elements spark deep emotions within us? The truth is reconnecting with nature through thoughtful design is a necessity, it is how we restore our bond with the earth and the more we do this, the more we are shaping a new way of living that sustains us all. Polish craft and innovation is going to take centre stage at Collect 2026 which opens in London on 25 February this year 2026. Nature connection, craft and design is taking centre stage. Biophilic Design helps people reconnect with nature. I am also a maker and artist (I sculpt, weave, sketch, etc), and for me, creating things with natural materials gives me a direct connection to nature and our planet. In this podcast we speak with the curator of this year’s Collect Corinne Julius and one of the Polish artists featured during the show. We explore the significance of biophilic design, the metamorphosis of Polish craft, and the role of materiality in art. The conversation also touches on the challenges of the craft industry in the context of climate change and the importance of tactile experiences in our lives. Can slow craft be the antidote to the disconnection and environmental crisis we face today? Have you noticed when you touch a rough piece of wood, a cool stone, or a warm fibre, something stirs inside? That tactile experience connects us directly to natural material grounding us amidst what can sometimes be quotidian chaos. It’s not accidental that craft practitioners, like Anna Bera, choose wood, stone, and clay to create, natural biophilic materials conduct our senses directly to our well-being and consciousness. Anna, a Polish artist from the mountains, explains it beautifully: “Working with natural materials is like engaging in a dialogue with the earth.”She crafts large-scale sculptures from wood, embracing imperfections, knots, and fungi. Her work isn’t flawless in the mass production sense; instead, it’s alive, real, and deeply connected.Contrast that with the sterile, sanitised surfaces of modern mass-produced objects. They’re designed to be invisible, to blend into the background. But Anna’s work demands you notice — it beckons tactile engagement, invites you to touch and reflect. Natural materials are imperfect, and that’s what makes them beautiful. Their flaws tell stories—of growth, decay, evolution. When we embrace this, we find healing, grounding, and a fresh perspective on our relationship with nature. Corinne Julius, the curator of the Metamorphosis exhibition, champions the idea that craftsmanship embodies deep intellectual effort and storytelling. She believes that authentic craft can challenge our fast-paced, disposable culture. “Craft is a form of soft power. It shows us that beauty can win minds and hearts, making deep environmental and social issues approachable.” Her exhibitions, like Metamorphosis showing at Collect this year at Somerset House in London, celebrate transformation of materials, of countries, of ideas. The craftspeople and artists she showcases, like Alicia Patanowska or Marcin Rusak use their work to COMMENT. Their pieces question consumption, waste, and sustainability through poetic, tactile means. A tile that’s thrown, cut, reassembled; a flower encased in resin—each reflects an urgent truth: We can transform waste into wonder, making us see the world differently, inspiring us to act consciously. So what is the biggest barrier to more craft specification? We have been disconnecting from nature more and more over the last two hundred years especially. Our built environments, homes, school, offices and hospitals, are often cold, uniform, and disconnected from the rhythms of the natural world. No wonder stress skyrockets, mental health suffers, and our environment degrades. Biophilic design flips this script. It’s about embedding natural elements, wood, plant life, water, into our daily spaces. Think of the Polish artists who create immersive installations from living plants, or designers reimagining architecture with curving, organic shapes that mirror the human body.As Anna says: "We need more biomorphic shapes, fewer harsh lines, more presence of trees and nature in our surroundings." Her work, touching even those with sight impairments, demonstrates how materiality influences well-being. Touching a rough wood sculpture can ground you, calm you, reconnect you with your roots.Corinne agrees: “In a world obsessed with speed and perfection, slow craft and natural materials are an antidote. They remind us who we are—living, breathing, interconnected.”This of course is the heart of biophilic design. The Polish crafts scene, with its optimism and innovation, exemplifies a can-do attitude. Corinne points out: “When we collaborate properly with craftspeople, we create spaces and products that are sustainable, soulful, and ...
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