I’d be willing to bet that if you asked most interior designers how they viewed themselves in their heart of hearts, in relation to their profession, they would answer ‘as an artist.’ Yes, there is much more involved with being a designer than expressing one’s inner visionary, but I’ll leave that for another, more practical post. For now, let’s celebrate the motivating force that moves one to create unique spaces with the mediums of texture, color, light, pattern, and spatial composition: pure creativity. There, I said it: interior designers are (at their best) artists too.
To show you what I mean, take a look at a brilliant artist who recently passed away at the life-well-lived age of 95, Robert Irwin. He was deeply involved with the ‘Light and Space Movement’ of the 1960s and his work and career illustrate the strong overlap between art and interior design. I think a lot of interior designers would see their own creative processes reflected in his concepts.
Interior design, by definition, engages with space. This engagement aligns with Irwin’s concept of spatial presence—a philosophy that invites us to experience a particular space not just as a backdrop for our lives but as a truly dynamic reality. He challenges us to consider how light, shadow, and the subtleties of form and texture influence our perception of each: as you look, how you look and what you see is altered. Interior design at its most insightful, taps into this process. It transforms walls, floors, ceilings, and furnishings into elements that interact both with each other and the person experiencing them. In this scenario, a client’s space is created that positively breathes with meaning and feeling.
Imagine stepping into a room where the play of natural light across a textured wall evokes a sense of calm, or where a carefully placed chase lounge draws your eye and invites you to sit and reflect. In such a space, every element—color, material, layout—works in concert to create a sensory experience that can be at once immediate, personal, and profound. This is where Irwin’s notion of spatial presence comes alive, urging us to be fully present and to engage with our surroundings in a meaningful way. That’s also a good statement of interior design goals.
Consider something as subtle as the interplay of transparency and opacity, of solidity and void. Irwin’s installations often utilize scrims and translucent materials to blur the boundaries of space, creating a sense of continuity and fluidity. In interior design, a parallel would be the thoughtful use of glass, open shelving, or partitioning that allows light to pass through, connecting spaces while maintaining their distinct functions. It’s about creating a dialogue between spaces, where the transition from one area to another is not abrupt but rather a seamless flow, much like Irwin’s own installations that invite viewers to move through them, experiencing changes in perception as they go.
Texture, too, plays a crucial role. Irwin’s work often highlights the tactile quality of materials, encouraging viewers to notice the minute details. In interior design, this attention to texture can be seen in the choice of fabrics, finishes, and surfaces that invite touch and interaction. A rough-hewn wooden table, a velvet sofa, a smooth marble countertop—each of these elements contributes to the spatial narrative, creating a sensory richness that then affects how other, more visual elements in the space are experienced.
Irwin’s emphasis on site-specificity demonstrates another strong parallel with interior design. Just as he creates installations that respond to the unique characteristics of a site, interior design must consider the context of the space—its history, its architecture, its natural light patterns—as well as the particular tastes and desires of the client. By embracing these specifics, designers can enhance the unique sense of place and belonging that a client responds positively to. Good design is never formulaic or derivative, and neither is good art.
The last point of commonality is one that most people—except artists and designers (and software engineers, but that’s another subject)—don’t think too much about: iteration. Both Irwin and interior designers engage in a process of iterative refinement and experimentation. Irwin’s work often involves a trial-and-error approach, adjusting elements until the desired perceptual effect is achieved. Interior designers similarly experiment with layouts, furnishings, and finishes, constantly refining designs to meet both aesthetic and functional goals.
I would say, in some ways, an artist has it much easier than an interior designer….
