![]() ![]() Omer was inspired to work in this manner after reading Rudolf Steiner’s Nine Lectures on Bees – a philosopher who predicted the declining population of the honeybee. 64 is pinnacle to this, a project conducted over several experiments with hot beeswax and water set at different temperatures. Fahim Kassamįlick through the pages and you’ll notice the studio’s immense attention to detail and investigation, whether that’s in the literal sense of approaching a brief or through the use of materials, mechanics and applications of light. “Together these strategies offer a scrapbook quality,” says Omer, “at odds with the formality of the monograph trope, which I like.” 93. Meanwhile Stephanie Rebick edited and worked on the curatorial process, organising the chapters and content as well as a collection of excerpts. “This felt true to our process, in which ideas are always infecting other ideas in the studio,” he notes. “The nature of the monograph is to offer a survey that covers the entire output of the practice,” he explains, “to invite the reader into our ecosystem of ideas.” Designed by Derek Barnett, the book is constructed with transparent paper, allowing the viewer to identify texts and imagery through its layers – a kind of visual maze that gives a glimpse as to what’s coming next. Omer has now reached a “mid-career” point, so not only does he delegate more of the workload to his trusted team, but he’s started to reflect. A “great tool for introspection”, the numbering also means he can skip over the menial and oftentimes tricky task of naming the projects. Each of which is marked in a characteristic identity system of numbers – something he’s incorporated since the dawn of his practice. This becomes clear within Omer Arbel, a publication housing his broad and experimental projects spanning lighting, industrial design, sculpture and architecture. Fahim KassamĮven if Omer’s work currently adheres to a much slower pace, his decisive (and thoroughly disruptive) attitude shines through fully. Maybe I’ve carried that method of decision making forward into my career, though its relevance is questionable given that projects take years to mature now, not seconds.” 23.2. Everything happens so fast, there is little time for analysis, so responses are intuitive and must be decisive. “People describe fencing as ‘sprinting and playing chess at the same time’, but I think it is more like backgammon: intuition and willpower play an outsized role, with strategy, perhaps, secondary. There are lessons I carry with me from that era that come up almost everyday,” he says. “I always knew architecture and making things would be my path, and fencing was a cool side gig. The latter a sport he enjoyed during this younger years, it was a close marriage of strategic play and discipline that enabled him to propel into more creative pursuits later on. Omer himself has many titles: an architect, artist, inventor, designer and, perhaps the most unlikely, a competitive fencer. Reaching acclaim for his work across sculpture, industrial design and lighting – and let’s not forget his co-founding of design and manufacturing company Bocci – his lengthy tenure has now been dissected in form of his first monograph, aptly named Omer Arbel, and published by Phaidon. ![]() Spherical glass as fierce as molten lava an angular furniture set cocooned amongst a cave-like canopy a nest of elongated, spindly arms attached to a series of bronzed bulbs these are all but a few elements making up the portfolio of Omer Arbel, a Vancouver-based artist and designer known for his experimental approach to processes and materiality. The Vancouver-based artist and designer publishes his first monograph, replete with experiments in lighting, sculpture, design and architecture 86.3. ![]()
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