Jennifer Seastone on the work

Sylva was awarded second place in the Church of England’s Empty Chair competition. I designed it to offer all-day comfort while honouring the life and beauty of the tree it came from, carrying something of the forest into its new form as a chair.

The piece is crafted from British ash, a species increasingly threatened by ash dieback. Working with this timber felt both like a privilege and a responsibility. Sylva is a quiet reminder of the value of the materials the natural world provides, and the importance of using them thoughtfully and with care.

The form is deliberately ergonomic. The seat sits slightly lower and is gently dished with a subtle rake, while the backrest incorporates lumbar support and an open splat that allows greater freedom of movement through the shoulders and spine. Outward-angled legs give the chair a broad, grounded stance and a strong sense of stability.

I also wanted to challenge the idea of a standard chair height, which has traditionally been based around the proportions of a middle-to-tall man. For many women and shorter people, this means sitting without their feet comfortably reaching the floor. By bringing the seat slightly closer to the ground, I wanted to create a more inclusive and comfortable experience, while retaining a relaxed sitting position for taller users.

The design is also shaped by my appreciation of the Arts and Crafts Movement and Art Nouveau. From Arts and Crafts in particular, I draw on an emphasis on skilled construction, honesty of material and the precision of handcraft, all of which are central to the making of Sylva.