11/19/2023 0 Comments Designer omer arbel![]() ![]() Taking old things, melting them down, and then a form being shaped by something that breaks. ‘It’s a perfect metaphor for the kind of changes that are happening. His explanation feels like a philosophically fuelled delve into how we value physical forms, and with that query lingering in the air, he sets another intriguing parameter within which our thoughts can flourish. Macdonnell takes a similar tone, explaining that ‘we create this play on the value of pieces from thrift shops that cost so little, but now they’re being shown at the V&A’.Īrbel’s inquisition begs the question: should we melt it all down and start again? And why do we hold so firmly onto relics of the past. ‘I want to ask – what are precious antiquities, what have they lived through and what is their spiritual presence?’ I wondered what it might mean to literally use cultural relics as raw materials to make a new work of art.Arbel oozes with excitement for the potential of a material overhaul: ‘What I'm proposing is kind of a total reconfiguration of the same raw material,’ he says. I was inspired by the seemingly infinite collection of wondrous artifacts at the V&A. The result is a completely unique artifact capturing, mid-process, an act of unpredictable circumstance. ![]() The performance of this work, staged by the glass blowers, requires great skill and happens at great speed, with the glass and copper at first fusing when very hot, and then, as they cool, rejecting each other. For 113, I explored coaxing molten glass and copper to interact in such a way that creates form neither material could achieve on its own. “For many years, I have been researching and experimenting with fabrication processes, searching for novel methods that yield unique form. ![]() What remains of 113 are the shattered fragments of glass, and the delicate beauty of wafer-thin, fragile sculpture, like an archaeological artefact. His polymath design approach that bridges various materials and processes has led to a hugely diverse output. These works demonstrate Arbel’s signature process, which is to let the intrinsic properties of a given material suggest its form, rather than impose an external idea of form upon the material. Omer Arbel (1976) is an Israeli-born, Vancouver-based multidisciplinary designer, architect, and artist. The monograph, published by Phaidon, captures Arbel’s varied output, bringing together twenty of his signature projects across sculpture, lighting, industrial design, and architecture. This research process has been meticulously documented in Arbel’s monograph, Omer Arbel - a dynamic, highly visual, and in-depth study of the celebrated multi-disciplinary artist and designer. The metal, when hot, does not come in contact with oxygen on the glass side of the form, leaving an iridescent finish creating an eye-catching contrast with the coarse oxidised finish found on the inside surface. Due to the stark differences in the two materials composition, the glass form shatters off during the cooling process, leaving behind a metallic shadow of itself. In the creation of 113, a glass form is blown conventionally, then molten copper is poured into the hot glass vessel. Over the course of the nine-day demonstration, the sculptures will be carried from the museum’s John Madejski Garden in several dignified, exalted processions, into the V&A’s Santa Chiara Chapel. 113 embodies the unexpected beauty of manipulating the two materials to create significant discrepancy in their respective rates of expansion. The multidisciplinary artist and designer who is based in Vancouver is well versed in materials research, lighting design, site-specific installations, and he is also one of the co-founders of Bocci, a Canadian design and manufacturing company. During the performance, common copper and glass antiquities procured from flea markets and vintage stores will be returned to their raw materials, and used to create a series of new 113 artefacts.Ī delicately intricate sculpture, 113 is created as a result of an ongoing series of experiments exploring the relationship between copper alloys and glass. For the first time in the museum’s history, the John Madejski Garden will transform into an immersive glass-blowing studio, with Arbel’s iridescent, fragile sculpture 113 taking centre stage over the course of the nine-day demonstration. From 28th August until 22nd October, 2020, the show 75, 86, 91, 94 will document a series of major innovations within Arbel’s ongoing experimental practice. Canadian multidisciplinary artist Omer Arbel, founder of design and research studio Bocci, will be presenting Material Experiments at the Victoria and Albert Museum, London. 20th July 2020, Berlin Germany: Multidisciplinary artist and designer Omer Arbel will present a new solo exhibition of architectural works in progress at Aedes Architekturforum in Berlin. ![]()
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