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The intrinsic magic of everyday things
Image / Living / Interiors / Food & Drink

Photography by James Gabriel Martin

The intrinsic magic of everyday things


by James Gabriel Martin
16th Apr 2025

From family heirlooms to cooking tools that we use every day, over time household items can take on a special energy and meaning. James Gabriel Martin of Leviathan discusses what makes us so attached to certain objects.

Every family has at least one item in their kitchen that has seemingly existed forever. Its origins may be unclear, lost to time, or conversely, it may have a long and storied history behind it. It could be a battle-worn utensil, proud and distinguished following years of service, its exact size, shape and weight in the hand burned into the muscle memory of everyone in the house.

It may be a decorative piece that has rested on a mantle or shelf through birthdays, weddings, graduations and funerals. Times of merriment and joy, distress and loss. Through everything these items are ever present, sitting in silent contemplation. Witnesses to it all.

Objects such as these have an inherent charm. An energy seems to flow into them over time, imbuing them with something divine. This is especially true of kitchen items, with their functionality and frequent use adding another layer of importance to their roles in our lives.

I frequently think of the large enamel casserole dish in my parent’s house, its vibrant red belly and heavy lid a perfect match to the Aga cooker, the centre of the home that everyone always gravitates towards to warm up. Countless dinners were made in and dished from it, and so it has served as the genesis of many important memories and shared experiences around a table. Because of this, it has come to symbolise something almost mythical in my head. A vessel of nourishment and togetherness.

Consumerism and convenience have walked us far away from passion and skill and I think, ultimately, care and responsibility.

A few years ago I bought myself a blue one, the exact size and shape as the original, with the idea of carrying on the tradition of preparing communal meals in a mindful way. The intentionality that I bring to its use and what it represents has made the object of greater significance to me.

This feeling becomes even stronger with heirlooms or gifts, passed on or given by those close to us. The act of remembering is directly built in to the item’s physical presence, with a feeling of connection that links us to the giver. We also become aware of the contrast between the time that has passed and the new chapters that lie ahead in our own lives as we become guardians of these items.

My mother recently gave me a small triangular hand broom for my kitchen. She happened to spot it while on a trip and thought of me. It’s made from palm fibre and bound with cord. It cost around five euro. I love it. It sits on the counter beside my bread board, and I use it to brush up the crumbs before I drop them outside for the birds.

Every time I use it it makes me happy. I think of my mum, and how nice it is to in turn be thought of and known by those that love us. We can incorporate a small daily ritual of appreciation and gratitude simply by picking up an object that is part of our routine.

There is also something deeply personal about how we interact with objects in the kitchen. They play on our senses. The humble wooden spoon that clinks against the side of the dinner pot will inevitably end up in our mouths as we taste our work in progress. It’s hard to think of something more intimate.

Hand crafters and artisan makers seem to be incredibly in tune with these ideas, and they often bring a wisdom to their work that incorporates a mastery of design and an understanding of ergonomics, an appreciation for quality materials, and a desire to make captivating things that will last a lifetime.

This is why so many of us are naturally drawn to handcrafted, well-made things. If you are going to use something every day, it makes sense to seek out the best version of it that has been created with a high level of appreciation and attention.

I brought this idea to Sam Gleeson, a bladesmith based in Co. Clare who forges his own knives from a diverse range of interesting materials under the project This Is What I Do. I asked him about his own process and approach, as well as his thoughts on the differences between handmade and mass-produced items.

“A handmade knife is a culmination of disciplines to produce a beautiful, functional tool to be used every day, an equation that will help bring sustenance, joy and full bellies,” Sam said. “It is about becoming comfortable with elemental forces, and an understanding of the materials — their behaviour, their strengths and weaknesses, their beauty and flaws. It’s as much about the process as it is about learning from the mistakes.”

“When you buy hand made you are tapping into all of this, you are sharing something with the maker, a real person who has put time, energy and love into something that you are going to own and cherish for a very long time,” Sam continued. “If you buy mass produced you miss all of this, and I think that’s a real shame. Consumerism and convenience have walked us far away from passion and skill and I think, ultimately, care and responsibility.”

It has been shown that well-designed objects boost mood, and that makes them seem even easier to use than they may actually be. They communicate nonverbally with us continuously.

Sam is taking this a step further, and is currently making moves to open Ireland’s first ever knife school to share his passion and knowledge and to ensure that the spirit of crafting is kept alive in his locality.

“We should be nurturing new generations of creative makers across the board, it doesn’t all have to be tech start-ups and the like, if we aren’t careful we are going to forget what working with our hands and minds truly is in favour of AI and computer- based work and that, to me, seems an incredible shame and a huge loss of what defines us as humans,” he added.

There is a leading theory in the psychology of design that well-made things not only make our lives easier, they actually improve our wellbeing. Sally Augustin, PhD, is a practicing environmental and design psychologist who specialises in integrating science-based insights to the design of objects, places and services. I spoke to her about her work.

“User needs, not wants, are the best foundation for any design. Understanding needs requires a lot of research with others. It has been shown that well-designed objects boost mood, and that makes them seem even easier to use than they may actually be. They communicate nonverbally with us continuously. When we interpret those messages positively, our life experience is enhanced. Imagine the messages you are likely to pull from something that breaks easily or doesn’t work well, compared to one that is effective at its job in terms of the repercussions for self-esteem,” Dr. Augustin said.

Dr. Augustin’s work takes a deep dive into just how multi-faceted our relationship is with our physical environment. At one point in our existence, our brains developed the ability to be in constant surveillance of our surroundings, scanning for threats in order to survive. Even today we are not vastly different, and are still highly in tune with the spaces directly around us, even if we are not cognisant of it all the time. Dr. Augustin’s work explores topics like how the colour of rooms translates to our mood, and how factors such as textures, scents and the curvature of walls and ceilings all play a part in our cognitive function.

Her research has shown that organic materials such as warm wood with visible grain patterns can act as a stress reducer and performance improver. Additionally, materials that age and develop a patina over time like leather and copper act as bonus mood enhancers.

I have experienced these theories in practice first hand. I was lucky enough to attend a workshop with Éamonn O’Sullivan of Hewn Spoons, a master woodworker who carves stunning kitchen spoons from pieces of freshly fallen green wood. We followed Éamonn’s guidance throughout the process, first using an axe to take away chunks of wood before moving on to two small blades to whittle the rest of the objects.

I loved the experience, and I was proud to have made my first spoon. I still have it today, but when I pick it up, I instantly feel my mood shifting in a negative direction. The weight is completely off, with the bowl of the spoon being top heavy and the handle being too narrow and inconsistent. It feels cumbersome and unwieldy. This is all down to my own inexperience with carving of course. In my hand it feels antithetical to efficient kitchen work, like I am fighting against the implement.

On the opposite end of the scale, the spoon that I purchased from Éamonn that was made by his own expert hands feels so perfectly weighted and shaped that picking it up makes me joyous. The handle has an octagonal shape that rests between the fingers and thumb, and the bowl has a perfectly angled lip for stirring and scraping. It feels like an extension of myself.

Many people love handmade things because they crave that uniqueness. Handmade work has to be sought out and discovered. It’s a personal thing, it reflects our unique style and our values, it’s a display of our support and appreciation of the skills of the makers.

Pieces that are so well designed and executed have much more than character. They have an essence that sets them apart and calls to us. This concept is far from new however. Animism is the idea that things in the physical world such as objects, materials and places all have unique spirits. It shows up in many diverse cultures throughout the ages.

The indigenous Japanese religion of Shintoism is rooted in this. The term kami is often translated to “spirit”, “god”, or “deity”, which are thought to be all around us and in some cases to work through different physical objects. The complex nature of this idea is often oversimplified in western discourse however, and also includes the elemental forces of nature, both good and evil.

Tsukumogami are beings of Japanese folklore belief. They are objects or tools that come alive after existing for over 100 years, with a sentience and spirit. In Irish folklore there are certain materials that have strong magical connections. Hawthorn trees are seen as gateways to the other world, sacred to faery folk, and as a result are never to be cut down or tampered with for fear of angering them. Some believe that to take hawthorn inside is bad luck. Hazel is another substance that is said to have strong magical powers, with oral tales referencing wands and staffs made from it.

When we consider the wealth of diverse natural materials that crafters utilise while other commercial makers have moved further towards limited standardised choices, the notion that hand crafted pieces have more magic about them due to their distinctiveness becomes apparent.

Stephen O’Connell and Alexis Bowman, the husband-and-wife team behind Fermoyle Pottery in Co. Kerry touched on this idea when I spoke with them about their work, which can be found in homes and Michelin starred kitchens all over the world.

“Handmade items have greater freedom from the constraints of the mass-produced world, which prioritises speed, cost and uniformity. They can be more fluid, ergonomic and just plain fun. We instinctively feel they are different and special when we use them,” Alexis said. “I think many people love handmade things because they crave that uniqueness. Handmade work has to be sought out and discovered. It’s a personal thing, it reflects our unique style and our values, it’s a display of our support and appreciation of the skills of the makers.”

“Among my most treasured possessions are pots, some made by friends and teachers who are sadly gone now. Pottery can survive centuries If cared for. Its beauty, utility, or story may mean they become lifelong companions, heirlooms of memory as well as function. That idea of something having greater value makes any work worthwhile,” Stephen added.

Fermoyle has fully embraced the idea of utilising natural, organic ingredients. They use glazes that include the ashes collected from wood fires and powdered slate dust from nearby quarries on Valencia Island.

With all of this said, I am not pleading the case on behalf of capitalism or materialism, nor am I suggesting that simply amassing things equates to happiness. I am suggesting however that practicing more considered purchasing habits can have many benefits, for ourselves, for the health of small independent businesses and artists, and for the planet.

Mass-produced items are now seldom made to last forever, with a limited lifespan being purposefully built in as part of a company’s strategy.

If you are in a position to do so, making the choice to invest in a quality item that will last a lifetime can help steer us away from cycles of use, breakage and replacement, and save some things from ending up in a landfill. There is the added convenience from knowing that what you have is dependable and will not break at the first sign of stress. There is an old saying that sums this up. “Buy once, cry once”.

I realise that not everyone has this luxury. We have reached a state in the modern world where handmade items are often considered an extravagance. Artisan crafters and smaller scale makers must charge more, adding their time, expertise and the use of higher-grade materials to their pricing. In direct opposition to this, mass-produced items are now seldom made to last forever, with a limited lifespan being purposefully built in as part of a company’s strategy. This is all the more reason to celebrate well-made things.

Beautiful objects that tell a story or evoke a feeling of importance do not have to be expensive. I love hunting for thrifted items, and always wonder about their provenance. I recently got an old wooden chopping board that came out of a boulangerie in France. It was marked as being 20th Century, so it’s unclear how old it actually is. The surface is emblazoned with a sea of scars and scratches, as well as a handful of burns for good measure.

I often ask myself, how many people did this board feed? And how many stories diverged from those fixed points in time? I imagine working people waiting in line outside the bakery early in the morning, and friends chatting in groups as they leave with their prizes. I think of lovers rolling out of bed to start their Sunday morning with coffee and toast, or families tearing into baguettes at dinner time.

The people that interacted with this object over the years have lived lives as unique and textured as the board itself, and when I pick it up to use it, I feel honoured that it found its way to me.

Photography by James Gabriel Martin.

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