I don’t exactly remember what led me to become a woodworker. What was attractive, I think probably, in this profession, is the idea that it is an art with a substantial historical background. And in line with all that, a technical history as well that makes a lot of sense. It is a mechanical history of wood that I find particularly interesting. And of course, the perspective when you are young to create something one day with your skills, the day you can do it.
My name is Alexandre Cecchi, and I am a woodworker and furniture designer. I did the Tour de France for eight years, and I lived how young people live on the Tour de France. That is to say, traveling to learn. So, the idea is to change city every year and learn techniques from a master and fill your suitcase of knowledge as we go. It allows diversifying our knowledge, having many different points of view, and creating many questions.
For me, a great woodworker is, above all, a great technician – someone who really masters the technique and who knows how to do it the right way systematically. Each piece of furniture is different, so, finally adapting each time, to each technical challenge, with the proper method. That’s really what the job is all about. He is, above all, a great technician, more than a creative person. The obvious advantage of having more technical knowledge is that you don’t have to restrict yourself in your drawings; you can draw while leaving aside the technical aspect at the time you draw.
You can never say, “oh no, but don’t draw that because how can you do it?” You shouldn’t ask yourself these questions; otherwise, you restrict yourself. I’m someone who loves creation and not only mine; I often rely on others’ creations. Many people in history, artistic characters, inspire me by seeing things and who can be the theme or the beginning of a work.
In my life, art takes up a lot of space. I listen to a lot of music at home; there is always a musical background. I really love music, and I’m quite convinced that it helps create a form of meditation.
Behind each piece, there will be many hours of conception, reflection, and research to arrive at a coherent project before it can even be implemented. Finally, it is planned with the pieces of wood and the species that we will eventually choose for an aesthetic purpose. Once the concept is interesting, we move on to the technical design and try to make something as perfect as possible, I would say. It’s true that when people buy a piece, they buy a period of the artist’s life. They buy preoccupations; they buy a lot of reflection; they buy years of learning in the making. And eventually, they buy a part of the concept of perfection.
What makes me particularly happy in the design of my furniture is the idea of going from drawing to realization. To make, from an idea, a reality. Something tangible, physical. It’s very simple; I love doing this. I enjoy creating, machining wood, diversifying orders, et cetera. To systematically take up new aesthetic and technical challenges. This is what makes my vision, finally, of my work. That’s why I like to persevere in this because I remain absolutely convinced that there is no art without technique.