Living and working between Hastings, UK, and Venice, Italy, Jim Stoten channels his boundless imagination into illustrations, animations, and even music. His bold, kaleidoscopic style is instantly recognizable: playful yet intricate, intuitive yet deeply considered. He thrives on spontaneity, allowing ideas to flow organically to create artworks that invite viewers to visualize the vast and intriguing worlds within his mind. “I try not to overthink,” he says. “I want my work to feel intuitive, playful—like an endless discovery in progress.”

For Foscarini’s What’s in a Lamp? series, Stoten reimagined six of the brand’s iconic lamps, transforming them into infinite zoom animations that serve as portals to otherworldly dimensions. Each loop draws inspiration from the lamp’s unique aesthetic, design story, or the worlds sparked in Stoten’s imagination.

Hoba, with its organic, meteor-like shape, becomes a cosmic odyssey through the stars, leading to a surprising encounter with an astronaut. Chapeaux, with its interchangeable diffusers, opens a whimsical parade of hats, each with its own distinct personality. Nuée’s soft, cloud-like folds, evolve into a snowy landscape, where a skier gracefully glides through. And then there’s Lumiere, Kurage, and Orbital—each animation invites you deeper into Stoten’s vivid vision, urging you to lose yourself in the intricate details and layered narratives. It’s like a psychedelic deep dive into light and design.

We had the opportunity to dive deeper into Jim Stoten’s unique perspective and artistic inspiration in this exclusive interview, which we’re sharing below. Experience how natural it feels to immerse yourself in Foscarini’s iconic designs through Jim’s vibrant, endlessly zooming journeys by exploring the entire What’s in a Lamp? series on our Instagram channel.

Tell us a bit about yourself and your journey as an artist. How did you get into illustration?

When I was a child I drew all the time as a form of entertainment for myself. When I applied and was accepted to study Illustration at the University of Brighton, all I knew about the course was that it encouraged all sorts of experimentation which I was really interested in. While studying I made lots of music, animations, drawings, prints and paintings and gradually after studying, I built up to where I am now.

How do the two sides of Jim Stoten—the illustrator and the musician—coexist and influence each other creatively?

I still really enjoy experimentation within creativity. Sometimes with both imagery and music, I feel I hit a wall – a place where I have worked so hard to get to, that I need a break. So then I turn to whichever way of working I haven’t done for a while, until I hit another wall and can turn back again. Basically, whenever I feel tired of drawing, I make music and when I’m tired of making music, I go back to drawing.

Your artistic aesthetic is incredibly unique. How would you personally describe your distinctive style?

I really have no idea. I know how other people describe it and I don’t always see what others see. I think my aesthetic is deeply rooted with how I think and what I am interested in conveying.

We’re curious about how your expressive style evolved over time. Did it develop naturally or was it the result of intentional research and experimentation?

It’s developed and changed over time. The work I’m doing now is very different to the work I was doing 10 years – in my opinion at least. It’s not intentional change, things just change as I find new things that attract my attention and hold my interest. Experimentation is exciting to me. I really like adding new things and taking away other things that I don’t feel are working anymore.

What’s your creative process like when working on your artworks? Do you have specific rituals or habits that you follow when you’re drawing?

Yes. If I’m in my studio, I make a pot of coffee and I have something on in the background, usually a film that I’ve seen before or an old TV chat show interview – something that I can listen to and occasionally stop to watch. If I’m not in my studio, maybe on a train or a plane or in a pub, I have music on my headphones and that’s it.

Your illustrations strike an intriguing balance between simplicity and complexity, where colorful minimal illustrations evolve into immersive video stories. How do you come up with your concepts?

The ideas behind the work are usually very immediate. I try not to think about that part too much. For me, overthinking ideas and approaches leads to uncertainty about the strength of an idea or concept. I like work to feel intuitive while I’m making it, which means that what is communicated varies depending on what I’m enjoying in making the work.

What inspired you to collaborate with Foscarini for this project?

I was excited by the freedom to move with this project. It felt like a nice opportunity to experiment and communicate simultaneously which is something that interests me greatly. It’s great to receive briefs like this where I am trusted to be free in terms of what I do.

Can you share the concept or inspiration behind the “What’s in a Lamp?” series?

For this project I allowed myself to mix my appreciation of the product’s aesthetic with my own loose interpretation of the background story behind the design. I wanted to be playful with both, in order to give myself the freedom to build an atmosphere that worked across all 6 animations.

Among the artworks in your “What’s in a Lamp?” series, do you have a personal favorite? If so, what makes it stand out for you?

I don’t have a favourite, I am happy with them as a set. The whole set is my favourite.

And, more in general, do you have a favorite subject to draw?

Horses.

Your work appears to offer a unique and original perspective on reality. How do you nurture this creative and alternative viewpoint?

I think my sketchbook is an important part of this process. I keep it with me at all times, and draw in it whenever I have time. I collect ideas in there that don’t have a place anywhere else for the time being, and mix it all up with the process of recording things I see, hear, remember, feel or just things I like. This means that any one page of my sketchbook is a big mix of everything that is happening inside of me and outside of me. My sketchbook always provides a good start point for how to approach projects.

What does creativity mean to you?

Creativity is a gift. It allows a person to process and digest any part of life that they wish to focus on, at the same time as bringing something that previously did not exist, into the light.

Artist, graphic designer, and curator Giona Maiarelli, born in Italy and living in the United States for more than twenty-five years, stands as a bridge between two cultures. His work focuses on collage, a medium shaped by randomness and serendipity, blending intuition and tactile elements with an aesthetic sensibility that honors the ability of art to create unexpected and meaningful connections.

“For What’s in a Lamp?, Maiarelli has assembled a series of collages that weave Italian culture into a deep dive into the American collective imagination. Foscarini’s iconic lamps, including Aplomb, Binic, Caboche, Chouchin, Nuée, and Spokes, are at the core of these works, combined with imagery from vintage magazines, books, and photographs, creating unique visual compositions that highlight the distinctive aesthetics of each lamp, while placing them within the context of the American myth with accents that are sometimes ironic, sometimes romantic.

“My goal was to explore the tension between the refined Italian aesthetics of Foscarini lamps and the pragmatic ruggedness of the American landscape,” says Maiarelli. In his artistic interpretation, Caboche becomes a circular jewel paired with American water towers, while Spokes, with its rays, evokes the chaotic tangle of electricity lines where birds rest. Chouchin, on the other hand, transforms into a flying object, referencing the American fascination with extraterrestrial phenomena. Each lamp thus becomes the protagonist of a visual narrative that blends design with storytelling, aesthetics with imagination.

Discover more about this collaboration and the full series by Giona Maiarelli on Foscarini’s Instagram channel @foscarinilamps. Explore all the works in the What’s in a Lamp? project, where international artists are invited to interpret light and Foscarini lamps.

Hi Giona, can you tell us about your artistic journey? How did you come to embrace the art of collage, and what does this form of expression represent for you?

At the beginning of my career as a graphic designer, I loved recycling paper scraps and cardboards used in presentations into a collage. I saw expressive possibilities in the waste of my work. Then came a long break dedicated to my profession, though I was always drawn to Dadaism and collage, particularly the works of artist and poet Jiří Kolář. Finally, in 2016, I decided to return to my passion.
“Rediscovering” collage years later meant rediscovering the pleasure of creating with my hands, which, as intermediaries between the mind and the paper, become active parts in the creation process. Paper cutouts move on the cardboard, intuition turns into action, until the composition reveals itself. But the cycle is not complete until the collage is seen by an audience. It is only when I see the collage through someone else’s eyes that the cycle is finished.

Your approach to collage is immediately recognizable and unique. How would you describe your style? What are the distinctive elements that define it?

Serendipity plays a fundamental role in my compositions: even when I intend to communicate a specific idea, the collage refuses to be accommodating and reveals expressive and compositional possibilities I hadn’t considered.
Then there’s the pleasure of surprise: finding a book from which to cut out images in a second-hand bookstore, discovering potential in images I initially discarded, and finally, the surprise of a composition that happens by chance on the page. Each series of collages starts with a theme, but instinct plays an essential part.

Where does your inspiration come from?

Inspiration arises alongside the work. When I start a collage series, I don’t have an idea in mind, only the material I’ve decided to work with, chosen based on an intuition. After a few hours, or sometimes a few days, ideas emerge on their own through the work itself.

What attracts you most in the reality around you, and how do you translate these suggestions into your work?

Most of the collage series I’ve produced are explorations of my personal American imagination: the landscapes of the American West, the modernist architecture of post-war skyscrapers in New York, and the California Case Study houses, the old Hollywood, the pages of the New York Times. Perhaps unconsciously, I’m processing my decision to move to the United States, reclaiming images that were already present in my subconscious.

For the “What’s in a Lamp?” project with Foscarini, you created compositions that associate lamps with evocative images, sometimes ironic, sometimes poetic. Can you reveal the inspiration and creative process behind this work?

For What’s in a Lamp?, I wanted to place Foscarini lamps in an American context. It seemed like the most obvious choice, given that I live in the United States, and the American visual heritage is part of my artistic vocabulary.

In this series, the dialogue between the two cultures, Italian and American, is very clear. How do these two realities meet and blend in your compositions?

My goal was to explore the tension between the refined Italian aesthetics of Foscarini lamps and the pragmatic roughness of the American landscape, playing with the size and contrast between the color images of the products and the black-and-white images of the landscapes. In the end, these two worlds, so seemingly distant, melted into an embrace, sometimes ironic, sometimes poetic.

What specific elements of the American collective imagination did you bring into the collages you created for “What’s in a Lamp?”

The form and material of the lamps suggested certain paths. Caboche appeared as a precious circular jewel to pair with an austere element of the American landscape, like water tanks. Aplomb fit into the face of the “ideal” American man, created by combining the portraits of five American presidents, replacing his open, glowing light with a telegenic smile. Spokes, with its delicate rays, refers to the chaotic electricity wires that tangle in the American skies, from which birds watch us, reminding us of its vocation as an elegant aviary. Binic reminded me of a bright full moon and led me towards images related to America’s exploration of our satellite. I knew from the start that at least one of the lamps would become a flying object, a typically American phenomenon and source of naïve conspiracy theories. This fate befell Chouchin, shiny and technically perfect, like I imagine a flying object from a more evolved civilization might be, catching passersby by surprise. Nuée is a light, airy cloud that intercepts our daring diver and takes her on a magical journey.

Which artists or influences have most contributed to the formation of your artistic vision? Who do you consider your masters?

The Czech artist and poet Jiří Kolář, whom I mentioned earlier, has had a great influence on my work. And also the carefree attitude of the Dada and Futurist movements.

Do you have a ritual or follow habits when working on your collages?

Music, always.

What is creativity to you?

My mentor, Milton Glaser, used to say that creativity doesn’t exist; only imagination does. Creativity is nothing but the ability to imagine, and then create, worlds that don’t yet exist.

Exploration and experimentation define Bennet Pimpinella’s artistic journey. Born in 1977 and trained in film at L’Aquila Academy, Pimpinella has spent his career merging analog and digital, continuously redefining the relationship between light and image. His visual language is unmistakable: a blend of experimentation, craftsmanship, and an intimate connection to the medium of film itself.  His signature technique—scratching directly onto film—captures his creative process, reflecting its intensity and the emotions it conveys. This instinctive, immediate, raw mark on the celluloid stands as a testament to the intensity of the moment. His works possess a grunge, raw aesthetic, charged with emotion, drawing the viewer into a world where the artist’s personal feelings are palpable.

In his contribution to Foscarini’s What’s in a Lamp? series, Pimpinella transforms light into the main protagonist of his cinematic narratives through his distinctive technique.

The soundtrack—created by composer Carmine Calia —does more than accompany the images; it enhances and deepens their meaning. Together, the interplay of light, form, and music in Pimpinella’s work offers a new emotional dimension, forging an intense connection with the audience.

Explore the full collaboration with Bennet Pimpinella and discover the complete series on Instagram @foscarinilamps, where international artists are invited to interpret the theme of light through Foscarini’s lamps as part of the What’s in a Lamp? project.

Tell us a bit about yourself: did you always know you wanted to be an artist? How did your journey into the world of cinema and artistic experimentation begin?

I never imagined I could make a living as an artist, even though I grew up surrounded by art. My father was a painter and sculptor, and my mother was a portrait artist. They always encouraged my love for drawing and painting, but for me, it was something personal, a part of daily life, without ever thinking it could become my career.

After studying as a surveyor, which felt restrictive for my interests, I decided to enroll at the International Academy of Image Arts and Sciences. It was a radical change—suddenly, I was immersed in the world of cinema, discovering a new way to express myself that completely changed my view of art. It wasn’t static anymore, but alive and moving.

I was lucky enough to meet great mentors, like Vittorio Storaro, who played a key role in my development. After graduating, I had the honor of working on his team for ten years, a deeply formative experience. My role was as an assistant camera operator, responsible for loading and unloading 35mm film in the cameras. That’s where I learned to handle and take care of the film. It was during this time that I laid the foundation for my understanding of both the technical and aesthetic aspects of filmmaking. Those years taught me discipline, technique, and above all, a deep appreciation for the pursuit of beauty in images. I still carry those lessons with me today, and I’m grateful to the Maestro Storaro and the entire team for instilling a passion that continues to guide me every day.

What motivates you to create, and where does your inspiration come from? Is it driven by curiosity, a search for meaning, or pure visual expression?

Creating is my way of expressing myself, just as others might write, play music, or sing. For me, it’s something natural, almost instinctive—it’s something I need to do, a way to deal with my feelings. My technique and my work help me understand and express what I’m going through.
My approach is fundamentally experimental: I start with a gesture, with a mark, always seeking something new, yet at the same time, something recognizable. My inspiration doesn’t come from a single source; I draw from everything around me, everything that touches my senses. It could be the blue of the sea, a gray day, a news story, the loss of a loved one, or a melody that captivates me. Every experience, every emotion, transforms into a mark, a shape. I could go on endlessly because everything that moves me has the potential to become part of my creative process.

Your cinema is surprising and unique. How would you describe your style, and how did you develop this distinctive aesthetic?

While I was at the Academy, I explored various forms of cinematic storytelling until I created my first stop-motion animation. That project sparked something in me and led me to dive deeply into the world of animation. I bought books, studied techniques, and experimented with innovative methods—from Alexandre Alexeïeff’s pin screen to backlit glass, Oskar Fischinger’s motion painting, and Jan Švankmajer’s stop motion. Each new discovery fueled my curiosity.

The turning point came when I discovered the direct cinema of Stan Brakhage, which didn’t use a camera. From that moment, I started experimenting with Super 8 film, scratching, coloring, and directly working on the film itself. The most magical part for me was the projection: using a home projector, hearing the mechanical sound of the motor pulling the film, smelling the belts, and watching the dust dance in the light of the lamp… It was an experience that captivated my soul. I still remember the first time I projected one of my works; I immediately knew that this technique would become my language.

Now, after 25 years, I still feel that same excitement and wonder every time the light turns on and the image comes to life. My style is rooted in this blend of experimentation, craftsmanship, and a deep connection to the physical medium of cinema, which remains the foundation of everything I create.

You’ve found a balance between analog and digital, but your work always begins with film. What process do you follow to create your videos? We’re very curious about your techniques, the tools you use, and your working method.

Every project starts with a fundamental choice: the medium. I decide whether to shoot new footage, and once developed, I create a positive to scratch and manipulate, or if I will work with found footage, using existing films to alter.

Choosing the film is crucial and depends on the type of work I’m doing. There are many variables to consider: the format, the perforations, whether the film is already exposed or still unexposed. The brand and age of the emulsion are also important, as they affect the type of scratch I will achieve—in terms of color, depth, and line. Every detail matters in creating the final result.

Once the film is selected, the real work begins, requiring immense patience and dedication. It’s a process that forces you to isolate yourself, as if time stands still. For just one minute of animation, it can take weeks of work. Meticulousness is essential.

In my works, I use a wide range of techniques, and each mark has its specific tool. For scratching the film, for example, I use awls, needles, dental kits, electric grinders, and Dremel tools. But it’s not just about scratching; I cut, paste, and color using every type of material available. The colors range from glass pigments to water-based inks and permanent colors. My goal is always to make the most of what the market offers while keeping creativity at the heart of the process.

A key element of my work is the extensive collection of transfers I’ve gathered over the past twenty years.  I have every type and brand, which allows me to explore endless creative possibilities when working with film. Every detail of my work comes from a combination of technique, experimentation, and the desire to constantly challenge the limits of the medium.

How did your collaboration with Foscarini come about, and what motivated you in this work?

When Foscarini approached me to collaborate, I didn’t hesitate for a moment. I vividly remember the excitement I felt as I immediately said yes. Being chosen by a brand I admire while having complete creative freedom was a significant motivator for me. It felt like an opportunity to explore new ideas and create something that resonated with their world but also carried my personal touch.

Whenever I am granted the freedom to express myself, I feel compelled to push my limits, experiment, and seek visual solutions that are surprising and capable of conveying emotions.  My aim was to create an atmosphere that reflected the essence of Foscarini while also adding a unique and unexpected element that would resonate with both me and the audience.  The challenge of blending my vision with theirs became the key motivation for this project.

In the “What’s in a Lamp?” project by Foscarini, you transformed film fragments by scratching the surface, adding colors, and integrating Foscarini lamps into surreal, grunge-inspired scenes. Could you share the inspiration and meaning that guided you in creating this series?

For the “What’s in a Lamp?” project, I aimed to create a deep connection between light and life. I began the process with a simple yet symbolic act: I turned off all the lights in my home. Then, one by one, I switched them on, searching for the perfect atmosphere to inspire my creativity. Light became my guide, leading to the development of six minifilms.

Each film is unique, characterized by its distinct color and technique, yet they all share an intimate and emotional ambiance. My goal was to tell a universal story where light transcends its physical form and becomes the main character, reflecting our lives. The Foscarini lamps became integral to this narrative, symbolizing emotions, memories, and moments from our experiences. I sought to blend the tangible quality of scratched and colored film with surreal elements, creating a dialogue between light and shadow that conveys silent yet powerful stories.

Is there a particular film from the series that you prefer or hold dear for some reason?

I don’t have an absolute favorite film, but there is one scene that I cherish: the opening shot of Spokes. In that moment, all the intimacy and warmth conveyed by an embrace comes to life. The soft orange glow from the Spokes lamp gently fills the room, enveloping the characters in a glow that transcends mere illumination; it becomes a source of emotion. It feels as this light is nurturing them, protecting them from the surrounding darkness. This scene speaks of connection and protection, embodying that human warmth that goes beyond words, which is what makes it so special to me.

The scratches on the film express all the passion and intensity with which you experience your art. How does your individuality reflect in your works? Do you have a ritual when creating your pieces?

The scratches on the film are my signature—an imprint that captures the entire creative process, with its intensity, imperfections, and that vigorous, instinctive touch that comes from direct contact with celluloid. Each scratch and mark reflects a specific moment in my life and my emotional state at that time. It feels as if the film holds a piece of me and my experiences.
I don’t follow a strict ritual when creating, but I rely heavily on instinct and the flow of the moment. I do have some small habits that help me get into the right mindset. I seek solitude, listen to inspiring music, and immerse myself in a particular kind of light that sets the ideal atmosphere for the journey I’m about to embark on. Each creation is an inner journey, and these habits help me connect with the emotions I want to express in my work.

What is the role of light in your art?

Light is the beating heart of my work; without it, everything would remain invisible. It is the light that brings life to the marks etched on the film, revealing shapes, colors, movements, and emotions.
Light reveals what lies hidden within the material, transforming it into images and, finally, narratives. It is an essential element, a bridge between my creative expression and the viewer’s interpretation. It is the light that brings the artwork to life, revealing what would otherwise remain concealed within the film.

What role does music play in your video art, especially in the “What’s in a lamp?” series?

In the “What’s in a lamp?” series, I invited composer Carmine Calia to join me on this creative journey. He created an unforgettable soundtrack that becomes a character in its own right within the narrative.  His music doesn’t simply accompany the visuals; it deeply influences them, shaping the rhythm of the story and adding layers of symbolic meaning. This interplay allows the light and shapes on screen to take on a deeper emotional resonance. Music thus becomes an integral component, capable of forging a powerful connection with the viewer and enhancing the feelings and themes I wish to express.

Do you have any reference artists, masters, or significant influences that have shaped your artistic vision?

I believe my greatest influence comes from my father. From a young age, I grew up watching him paint, and every time he spoke about his art, his eyes would light up. This filled me with joy and instilled in me a deep love for creativity. As an adult, I had the fortune of working with the master of Italian cinema, Vittorio Storaro. Witnessing him at work was one of the most extraordinary experiences of my life. From him, I learned the importance of seeking beauty in the image, a lesson that has profoundly shaped my artistic journey.

How do you nurture your creativity?

I nurture my creativity through a continuous journey of experimentation, often living as a hermit in my home, as if it were my den. Continuously adding to or subtracting from my technique drives me to seek something different while still aiming to maintain a distinctive and unmistakable mark. This desire for evolution and ongoing exploration is the driving force that motivates me to nurture my work.

How would you define creativity? What does it mean for you to be creative?

For me, creativity is freedom. It is a continuous flow that allows me to see the world from different perspectives and express myself in unique ways, always striving to push beyond my limits.

The ADI Design Index is one of the most prestigious awards in the international design landscape, gathering the best industrial design projects each year. This year’s selection of 261 products inaugurates the biennial candidacy cycle for the Compasso d’Oro 2026. Among these are Chapeaux and Fleur, two table lamp designs by Rodolfo Dordoni that combine technological innovation, sophisticated aesthetics, and attention to functionality.

With Chapeaux, the research started by Rodolfo Dordoni with Buds (a transparent base and a forceful diffuser) takes a new step forward, adding a new level of versatility that transforms the lamp’s character, the quality of the light, and its decorative impact.

The design elements of Chapeaux are reduced to the essentials. The conceptual core of the project consists of three diffusers: three different “hats” in different forms, materials and finishes—three in metal, two in glass, and one in porcelain. Open at the center, they rest on the transparent body of the lamp, made of borosilicate glass, which also sustains the light source: an ampoule with a touch-dimmer that houses the lighting components and seems to float inside the glass.

When the lamp is off, the transparent glass body almost vanishes from view, but it appears discreetly when the light is on, subtly conveying its substance. The choice of diffuser also dictates the quality of the light: the metal version, white on the inside, reflects the light onto the surface below, making it perfect for desktop lighting. The glass and porcelain “hats” offer a softer, ambient experience.

Fleur is a rechargeable table lamp with dual functions: the more natural one of illuminating and the unexpected one of containing water and a fresh flower. Like other lamps designed by Rodolfo Dordoni, Fleur is a project that speaks of opposites that meet, of solid and voids (real or perceived) that create unexpected harmonies. It is an erudite yet immediate stylistic exercise, with the lamp-object that defines the space around it: a setting that becomes  intimate, livable, enticing, personalized for any situation thanks to light.

Fleur is also highly functional. Thanks to a specially developed LED circuit, with miniaturized components, it lights the surface around its base and creates a broader light beam on the table compared to traditional battery-powered lamps. Fleur is energy-efficient too: it consumes only 1 watt, but has highly efficient LEDs—for rapid recharging via USB-C—which emit intense light, adjustable with a touch dimmer.

Exploration and experimentation define Bennet Pimpinella’s artistic journey. Born in 1977 and trained in film at L’Aquila Academy, Pimpinella has spent his career merging analog and digital, continuously redefining the relationship between light and image. His visual language is unmistakable: a blend of experimentation, craftsmanship, and an intimate connection to the medium of film itself.  His signature technique—scratching directly onto film—captures his creative process, reflecting its intensity and the emotions it conveys. This instinctive, immediate, raw mark on the celluloid stands as a testament to the intensity of the moment. His works possess a grunge, raw aesthetic, charged with emotion, drawing the viewer into a world where the artist’s personal feelings are palpable.

In his contribution to Foscarini’s What’s in a Lamp? series, Pimpinella transforms light into the main protagonist of his cinematic narratives through his distinctive technique.

The soundtrack—created by composer Carmine Calia —does more than accompany the images; it enhances and deepens their meaning. Together, the interplay of light, form, and music in Pimpinella’s work offers a new emotional dimension, forging an intense connection with the audience.

Explore the full collaboration with Bennet Pimpinella and discover the complete series on Instagram @foscarinilamps, where international artists are invited to interpret the theme of light through Foscarini’s lamps as part of the What’s in a Lamp? project.

Tell us a bit about yourself: did you always know you wanted to be an artist? How did your journey into the world of cinema and artistic experimentation begin?

I never imagined I could make a living as an artist, even though I grew up surrounded by art. My father was a painter and sculptor, and my mother was a portrait artist. They always encouraged my love for drawing and painting, but for me, it was something personal, a part of daily life, without ever thinking it could become my career.

After studying as a surveyor, which felt restrictive for my interests, I decided to enroll at the International Academy of Image Arts and Sciences. It was a radical change—suddenly, I was immersed in the world of cinema, discovering a new way to express myself that completely changed my view of art. It wasn’t static anymore, but alive and moving.

I was lucky enough to meet great mentors, like Vittorio Storaro, who played a key role in my development. After graduating, I had the honor of working on his team for ten years, a deeply formative experience. My role was as an assistant camera operator, responsible for loading and unloading 35mm film in the cameras. That’s where I learned to handle and take care of the film. It was during this time that I laid the foundation for my understanding of both the technical and aesthetic aspects of filmmaking. Those years taught me discipline, technique, and above all, a deep appreciation for the pursuit of beauty in images. I still carry those lessons with me today, and I’m grateful to the Maestro Storaro and the entire team for instilling a passion that continues to guide me every day.

What motivates you to create, and where does your inspiration come from? Is it driven by curiosity, a search for meaning, or pure visual expression?

Creating is my way of expressing myself, just as others might write, play music, or sing. For me, it’s something natural, almost instinctive—it’s something I need to do, a way to deal with my feelings. My technique and my work help me understand and express what I’m going through.
My approach is fundamentally experimental: I start with a gesture, with a mark, always seeking something new, yet at the same time, something recognizable. My inspiration doesn’t come from a single source; I draw from everything around me, everything that touches my senses. It could be the blue of the sea, a gray day, a news story, the loss of a loved one, or a melody that captivates me. Every experience, every emotion, transforms into a mark, a shape. I could go on endlessly because everything that moves me has the potential to become part of my creative process.

Your cinema is surprising and unique. How would you describe your style, and how did you develop this distinctive aesthetic?

While I was at the Academy, I explored various forms of cinematic storytelling until I created my first stop-motion animation. That project sparked something in me and led me to dive deeply into the world of animation. I bought books, studied techniques, and experimented with innovative methods—from Alexandre Alexeïeff’s pin screen to backlit glass, Oskar Fischinger’s motion painting, and Jan Švankmajer’s stop motion. Each new discovery fueled my curiosity.

The turning point came when I discovered the direct cinema of Stan Brakhage, which didn’t use a camera. From that moment, I started experimenting with Super 8 film, scratching, coloring, and directly working on the film itself. The most magical part for me was the projection: using a home projector, hearing the mechanical sound of the motor pulling the film, smelling the belts, and watching the dust dance in the light of the lamp… It was an experience that captivated my soul. I still remember the first time I projected one of my works; I immediately knew that this technique would become my language.

Now, after 25 years, I still feel that same excitement and wonder every time the light turns on and the image comes to life. My style is rooted in this blend of experimentation, craftsmanship, and a deep connection to the physical medium of cinema, which remains the foundation of everything I create.

You’ve found a balance between analog and digital, but your work always begins with film. What process do you follow to create your videos? We’re very curious about your techniques, the tools you use, and your working method.

Every project starts with a fundamental choice: the medium. I decide whether to shoot new footage, and once developed, I create a positive to scratch and manipulate, or if I will work with found footage, using existing films to alter.

Choosing the film is crucial and depends on the type of work I’m doing. There are many variables to consider: the format, the perforations, whether the film is already exposed or still unexposed. The brand and age of the emulsion are also important, as they affect the type of scratch I will achieve—in terms of color, depth, and line. Every detail matters in creating the final result.

Once the film is selected, the real work begins, requiring immense patience and dedication. It’s a process that forces you to isolate yourself, as if time stands still. For just one minute of animation, it can take weeks of work. Meticulousness is essential.

In my works, I use a wide range of techniques, and each mark has its specific tool. For scratching the film, for example, I use awls, needles, dental kits, electric grinders, and Dremel tools. But it’s not just about scratching; I cut, paste, and color using every type of material available. The colors range from glass pigments to water-based inks and permanent colors. My goal is always to make the most of what the market offers while keeping creativity at the heart of the process.

A key element of my work is the extensive collection of transfers I’ve gathered over the past twenty years.  I have every type and brand, which allows me to explore endless creative possibilities when working with film. Every detail of my work comes from a combination of technique, experimentation, and the desire to constantly challenge the limits of the medium.

How did your collaboration with Foscarini come about, and what motivated you in this work?

When Foscarini approached me to collaborate, I didn’t hesitate for a moment. I vividly remember the excitement I felt as I immediately said yes. Being chosen by a brand I admire while having complete creative freedom was a significant motivator for me. It felt like an opportunity to explore new ideas and create something that resonated with their world but also carried my personal touch.

Whenever I am granted the freedom to express myself, I feel compelled to push my limits, experiment, and seek visual solutions that are surprising and capable of conveying emotions.  My aim was to create an atmosphere that reflected the essence of Foscarini while also adding a unique and unexpected element that would resonate with both me and the audience.  The challenge of blending my vision with theirs became the key motivation for this project.

In the “What’s in a Lamp?” project by Foscarini, you transformed film fragments by scratching the surface, adding colors, and integrating Foscarini lamps into surreal, grunge-inspired scenes. Could you share the inspiration and meaning that guided you in creating this series?

For the “What’s in a Lamp?” project, I aimed to create a deep connection between light and life. I began the process with a simple yet symbolic act: I turned off all the lights in my home. Then, one by one, I switched them on, searching for the perfect atmosphere to inspire my creativity. Light became my guide, leading to the development of six minifilms.

Each film is unique, characterized by its distinct color and technique, yet they all share an intimate and emotional ambiance. My goal was to tell a universal story where light transcends its physical form and becomes the main character, reflecting our lives. The Foscarini lamps became integral to this narrative, symbolizing emotions, memories, and moments from our experiences. I sought to blend the tangible quality of scratched and colored film with surreal elements, creating a dialogue between light and shadow that conveys silent yet powerful stories.

Is there a particular film from the series that you prefer or hold dear for some reason?

I don’t have an absolute favorite film, but there is one scene that I cherish: the opening shot of Spokes. In that moment, all the intimacy and warmth conveyed by an embrace comes to life. The soft orange glow from the Spokes lamp gently fills the room, enveloping the characters in a glow that transcends mere illumination; it becomes a source of emotion. It feels as this light is nurturing them, protecting them from the surrounding darkness. This scene speaks of connection and protection, embodying that human warmth that goes beyond words, which is what makes it so special to me.

The scratches on the film express all the passion and intensity with which you experience your art. How does your individuality reflect in your works? Do you have a ritual when creating your pieces?

The scratches on the film are my signature—an imprint that captures the entire creative process, with its intensity, imperfections, and that vigorous, instinctive touch that comes from direct contact with celluloid. Each scratch and mark reflects a specific moment in my life and my emotional state at that time. It feels as if the film holds a piece of me and my experiences.
I don’t follow a strict ritual when creating, but I rely heavily on instinct and the flow of the moment. I do have some small habits that help me get into the right mindset. I seek solitude, listen to inspiring music, and immerse myself in a particular kind of light that sets the ideal atmosphere for the journey I’m about to embark on. Each creation is an inner journey, and these habits help me connect with the emotions I want to express in my work.

What is the role of light in your art?

Light is the beating heart of my work; without it, everything would remain invisible. It is the light that brings life to the marks etched on the film, revealing shapes, colors, movements, and emotions.
Light reveals what lies hidden within the material, transforming it into images and, finally, narratives. It is an essential element, a bridge between my creative expression and the viewer’s interpretation. It is the light that brings the artwork to life, revealing what would otherwise remain concealed within the film.

What role does music play in your video art, especially in the “What’s in a lamp?” series?

In the “What’s in a lamp?” series, I invited composer Carmine Calia to join me on this creative journey. He created an unforgettable soundtrack that becomes a character in its own right within the narrative.  His music doesn’t simply accompany the visuals; it deeply influences them, shaping the rhythm of the story and adding layers of symbolic meaning. This interplay allows the light and shapes on screen to take on a deeper emotional resonance. Music thus becomes an integral component, capable of forging a powerful connection with the viewer and enhancing the feelings and themes I wish to express.

Do you have any reference artists, masters, or significant influences that have shaped your artistic vision?

I believe my greatest influence comes from my father. From a young age, I grew up watching him paint, and every time he spoke about his art, his eyes would light up. This filled me with joy and instilled in me a deep love for creativity. As an adult, I had the fortune of working with the master of Italian cinema, Vittorio Storaro. Witnessing him at work was one of the most extraordinary experiences of my life. From him, I learned the importance of seeking beauty in the image, a lesson that has profoundly shaped my artistic journey.

How do you nurture your creativity?

I nurture my creativity through a continuous journey of experimentation, often living as a hermit in my home, as if it were my den. Continuously adding to or subtracting from my technique drives me to seek something different while still aiming to maintain a distinctive and unmistakable mark. This desire for evolution and ongoing exploration is the driving force that motivates me to nurture my work.

How would you define creativity? What does it mean for you to be creative?

For me, creativity is freedom. It is a continuous flow that allows me to see the world from different perspectives and express myself in unique ways, always striving to push beyond my limits.

From a young age, Mattia Riami exhibited an innate passion for drawing and visual arts, honing his skills at the Venice School of Art and Milan’s IED. His work is distinguished by a “fast, nihilistic, and nervous” style, complemented by a refined use of color that evokes the warm, nostalgic palettes of 1940s and 1950s vintage ads.

For Foscarini’s “What’s in a Lamp?” project—where artists, designers, and creatives are invited to interpret light through Foscarini lamps—Riami explores daily life through six illustrations that depict scenes of ordinary familiarity. Yet, there’s always an unexpected detail that upends the perspective: Foscarini lamps transform into clouds, spaceships, and trumpets, becoming the twist that makes the ordinary extraordinary. This creates an atmosphere of freedom and lightheartedness, encouraging a fresh view of the world.

Simultaneously familiar and dreamlike, Riami’s illustrations reveal the transformative power of Foscarini lamps in a uniquely original way. Just as in the illustrations, these lamps transcend their basic functionality, turning any space into an environment that reflects the personality of those who choose them, telling stories and expressing desires and emotions.

Discover Riami’s full series for “What’s in a Lamp?” on Instagram @foscarinilamps and delve deeper into his artistic vision in our interview.

How did your artistic journey begin? Did you always know art would be your path?

“Yes, I was very lucky in this respect; I’ve always drawn since I was a child. I drew without knowing it would become my work, my way of being and expressing myself—I simply drew. I drew Disney characters, copied figures from illustrated books, and made my own prototype books by stapling together a few A4 sheets where I’d set up my story. As I grew older, I became more aware that this could become something serious, so I focused my studies on visual arts, turning those childhood games into my career.”

What motivates you to create, and where does your inspiration come from: curiosity, the search for meaning, or pure visual expression?

“I must say pure visual expression greatly attracts and influences me. In everyday life, I am captivated by many visual stimuli—drawings, illustrations, paintings, posters, and more—and this affects my desire to draw simply to express shapes and colors that emerge within me. However, during the design phase, all these forms take on meaning, and I enjoy building a story behind each project, as I did for ‘What’s in a Lamp?’.”

Your graphic style is distinctive and recognizable. How would you describe your style, and how has it evolved over time?

“I’d describe it with some of the words others have used to describe it for me: ‘a fast, nihilistic, and nervous line.’ I confirm, I always have a very physical relationship with my work, whether on paper or with digital brushes. I energetically use pencils on paper, sometimes even perforating it by accident or fearing I might damage the screen. I like that the journey my hand takes to draw that line is perceptible, and I feel a mysterious force pushing me to draw or color in a specific way. My approach has always been like this, influenced by my professors at IED in Milan, but it has refined over time through study and research.”

In this series, you depict scenes of everyday familiarity, especially domestic ones, where lamps become transformative elements that magically alter the scene’s perception, creating new, unexpected, and surreal interpretations. Can you tell us more about the inspiration behind this work?

“Certainly, that was the most enjoyable part! I wanted to convey a sense of everyday life and transform, through play, the lamps into objects different from what they are, as if the characters in the illustrations were surprised to discover that a lamp resembles another object or has another use. Like when we were children and used an empty kitchen roll tube as a telescope or megaphone. I was inspired by the shapes of the lamps and tried to return to childhood! So, I saw clouds, a spaceship, a trumpet, a baseball bat, and much more; I could have continued this game indefinitely.”

Which illustrations in this series are your favorites, and why?

“My absolute favorite is NUEE because I think it perfectly captured the surreal-reality blend I was aiming for. I also really love MITE for the same reason and LE SOLEIL for its atmosphere of freedom and lightness.”

It’s remarkable how, with just a few strokes, your illustrations tell entire stories, lives, situations, and emotions. Can you explain the narrative aspect of your creative process?

“Instinctively, I always use the human figure in my work; it’s rare for me to create a landscape without people or different subjects. The human being thus becomes the protagonist of my works, and their emotions are the foundation from which I build my stories. Through the protagonists, we can read and infer what is happening, what the story is, and the situations and events that characterize it. I think of the illustration for the TOBIA lamp, where we see a couple who has just moved in and starts unpacking boxes, with the joy and excitement of a new home, using the lamp as a trumpet for the moment’s euphoria. But it could just as easily be new purchases for the house; the atmosphere is the same, and the viewer sees what resonates most with their own experience.”

What interests you most about the reality around you?

“It’s hard to answer; certainly, nature fascinates me, and I’d like to know and explore it more—the shapes of plants, leaves, flowers, clouds—they’re true natural architectures or design works. I’m also always intrigued and attracted by visual communication in general: my eye always catches posters, book covers, and anything visual. I take many photos with my phone as reminders to study later what caught my attention.”

How would you describe your relationship with color in your work as an illustrator? What guided your color choices for your ‘What’s in a Lamp?’ series?

“My relationship with color has been renewed in recent years. Some time ago, after my studies, I primarily drew in black and white, adding only occasional touches of color. Certainly, the influence of the many colorful illustrations I saw around me sparked the desire to color my own. I think I was also influenced by the splendid work of Jean-Charles de Castelbajac, a master who was my art director for over two years. I’m fascinated by vintage illustrated ads from the 1940s and 1950s; I’ve always loved that era’s style, and I’ve always watched black-and-white films from that period. I love the hands holding white cigarettes, the clothing, hats, and fashion of those times. This has influenced how I draw characters, both male and female, in a contemporary and modern way but with a touch of that past. The color palette I used for ‘What’s in a Lamp?’ reflects those old advertisements; I studied shades that also conveyed a certain warmth.”

Besides the sources of inspiration you’ve mentioned, are there any masters who have particularly influenced your artistic vision?

“When talking about great masters, I think of Egon Schiele, Picasso, and Jean-Michel Basquiat, especially, as well as Keith Haring, who is one of my absolute idols for his personality more than his style. Contemporary artists like Marlene Dumas have also influenced me. Comics, especially graphic novels, and illustrators like Adelchi Galloni, who was my teacher at IED Milan, have also had a significant impact on me.”

Do you have a ritual or particular habits when working on your illustrations?

“My method involves initial research and reflection on what the project aims to achieve. This leads to the very first ideas, which I quickly jot down or sketch in diaries I keep, really just incomprehensible scribbles to get the idea down. Then, I move on to more elaborate drafts and finally to the final piece. The story is built in the first two phases.”

What does creativity mean to you?

“I think creativity is the ability to see the world differently, to imagine possibilities beyond the ordinary, and to transform abstract ideas into tangible reality. It’s a dynamic process involving intuition, inspiration, and personal expression, but it’s also sometimes discipline and constant effort to improve; it’s not always easy!”

From September 5 to 29, 2024, Bloomingdale’s in New York City will host a special exhibition dedicated to Italian design, in collaboration with Salone del Mobile.Milano, the world-renowned design fair, bringing a unique celebration of Italian creativity and craftsmanship to the heart of the Big Apple. The centerpiece of this event is an immersive exhibition titled “Italian Design: from Classic to Contemporary,” curated by the architect Ferruccio Laviani.

Inspired by the metaphysical squares of Giorgio de Chirico, the Italian painter known for his enigmatic, dream-like cityscapes characterized by eerie shadows and classical architecture, the exhibition creates a fantastical setting where classic design meets contemporary innovation. Laviani’s design for the space masterfully blends elements of art installation and pop-up experience, using light and unexpected object placements to create a surprising and evocative atmosphere.

In addition to the installation, the event will offer a series of engaging talks and activities featuring prominent figures from the international design scene. These events provide a wonderful opportunity for the New York design community and enthusiasts to explore the rich heritage and innovative spirit of Italian design.

5 – 29 September 2024
H. 10AM – 8PM
Bloomingdale’s 59th Street
1000 Third Ave, New York, NY
6th Floor – Home/Furnishing department

Antje Damm, born in Wiesbaden, Germany, has made a name for herself in the world of children’s literature and illustration. Formerly an architect, Antje turned her focus to writing and illustrating books for children, with her work being recognized as one of the New York Times / New York Public Library’s Best Illustrated Children’s Books.

Antje brings her unique artistic vision to Foscarini’s “What’s in a Lamp?” editorial project by creating intricate dioramas within little matchboxes. These tiny worlds are not just fascinating, playful miniatures but are imbued with the soul and character of Foscarini’s iconic lamps. “Lamps are not merely sources of light; they are sculptures that enhance our living spaces,” the artist explains. “Good lighting is essential for any space, and it was thrilling to envision which lamps fit into which rooms, blending special and everyday situations.”

Antje’s architectural background shines through in her meticulous approach to these matchbox scenes with her creative routine balancing the freedom of illustrative work with the structured experimentation reminiscent of her architectural days. She crafts each scene with precision, blending techniques like drawing, collage, and paper cutouts to achieve a high level of abstraction and storytelling. For example, the Havana floor lamp’s enduring charm finds a natural setting in a forest that feels almost magical – Orbital becomes a focal point in a domestic scene with its “whimsical and unique design that reminds me of Calder’s mobiles, which I adore,” explains Antje – and another distinct world is created around the dynamic, sculptural shape of the Big Bang suspension lamp, showcased as a counterpoint to an artwork in an art gallery.

Follow the project on Instagram @foscarinilamps to delve deeper into Antje Damm’s imaginative creations and learn more about her artistic journey in our interview!

Hello Antje! Can you share a bit about your artistic journey and what inspired you to become an artist?

Drawing and painting have always been my way of expressing myself and what’s going on inside me, something I’ve enjoyed since I was a child. I worked as an architect for several years and stumbled into writing and illustrating children’s books about 20 years ago, almost by accident. Eventually, I had to decide where to focus my efforts because doing both, especially with four children, was too much. Being an artist, author, and illustrator is my dream job. I can work very freely and independently, constantly exploring new paths because I’m a curious person who loves trying new things and veering off the beaten path. Each book is different and presents a new challenge, and visually interpreting an idea is always a risk.

How has your background in architecture influenced your approach to visual storytelling and illustration?

In essence, developing an architectural concept and a book concept are very similar. During my time as an architect, I built many models and worked with them extensively. For some of my illustrations, where I construct sets from paper and cardboard and then photograph them, I approach it the same way. It’s a playful approach, highly experimental and free. I can easily make changes, additions, and then focus and influence through the photos. I also enjoy working in three dimensions.

Your use of mixed media is quite distinctive. How would you describe your style?

In essence, I find it hard to pin down. I illustrate my books in various styles because they deal with different concepts. I blend techniques like drawing, collage, digital illustration, depending on the project. For a recent book, I experimented with paper cutouts for their abstract quality, and it turned out to be a perfect fit for the story.

We’re curious about your matchbox artworks. How did the idea of using matchboxes as a canvas come about?

During the COVID-19 pandemic, all my book tours were canceled, leaving me with much more time on my hands. That’s when I got the idea to build these small matchbox dioramas. Since then, many people have grown fond of my little artworks and want to own one themselves. And I simply enjoy building them. It’s relaxing and fulfilling for me, but also challenging to tell a story in such a confined space.

Can you share insights into your creative routine? How do you maintain inspiration and overcome challenges during the artistic process?

I work from home, and my workspace always feels a bit too small. On the other hand, we live right by the forest, and I need nature to be creative. I spend a lot of time outdoors, marveling at the changing seasons, collecting mushrooms, observing plants and animals, but I also visit exhibitions frequently, always seeking new input.

In the “What’s in a lamp?” series, Foscarini lamps become part of home-stories told within the limited space of a matchbox. How did you integrate Foscarini’s lamps into these tiny narratives, and what challenges or joys did you encounter working with both the lamps and matchboxes simultaneously?

Furniture and lamp design have always fascinated me and were a significant part of my job as an architect. I love beautiful things, and lamps, in particular, are more than just functional fixtures to me; they’re design objects, almost sculptures, that I delight in contemplating repeatedly. Good lighting is essential in any space; it accompanies us constantly and makes the space functional. But it’s also much more than that. It was thrilling for me to consider where each lamp would best fit within different rooms—seeking both distinctive pieces and those that seamlessly blend into everyday settings. I definitely wanted some special ones but also to create ordinary situations.

What inspired you in this project?

The challenge and joy of this project lay in capturing the spirit and essence of each lamp. What thoughts and feelings do they evoke? Where could they be best showcased? For instance, with the Havana lamp, I thought it would fit beautifully in a natural setting, resonating with its archaic charm.

How did you choose which lamps to feature in these miniature scenes?

I chose the lamps that impressed me the most. Big Bang is an interesting sculpture that always looks different. I also selected a small and amusing lamp, like Fleur, because it demonstrates the broad and exciting spectrum that lamps can cover.

Do you have a personal favorite artwork from your “What’s in a lamp?” series, and if so, why?

I particularly like the box with the Orbital lamp. That’s my favorite lamp because it’s funny and so unique, and it reminds me of Calder’s mobiles, which I love.

And more generally, what is your favorite thing to portray?

Scenes from nature and small spaces that have a very special atmosphere.

Your art has a universal appeal transcending language barriers. How do you merge illustration and storytelling in your creative process?

The key to creating children’s books is to tell stories through images that complement and expand upon the text, sometimes asking questions or even contradicting it. The great thing is that anyone can “read” pictures, regardless of the language they speak.

Your illustrations feature a powerful color palette. How do you decide on colors, and what role do they play in conveying the mood of your pieces?

Colors express emotions, and I naturally use them. However, I work very intuitively and don’t overthink it. In my illustrated book ” The Visitor” you can see how colors can tell a story. A little boy visits an elderly woman, bringing color into her gray life.

Your work offers a unique perspective on reality. How do you nurture this creativity and alternative viewpoint?

For me, this perspective is integral to life itself, not just my work. Creativity extends beyond art; it’s about finding solutions and pathways in life, especially during challenging times. This is closely tied to hope, too.

What is creativity for you?

Creativity is an essential part of my life, both personally and professionally. It’s about constantly seeking solutions, exploring new paths, and finding beauty and meaning in everything around me.

The portable table lamp Fleur, designed by Rodolfo Dordoni, has won the Most Illuminating Lighting category at the 2024 Wallpaper* Smart Space Awards. Now in its fourth edition, this award celebrates excellence in home design, with a particular focus on creativity, innovation, sustainability, simplicity, and style.

The judges were impressed by Fleur’s ability to combine two distinct functions—the natural one of providing light and the unexpected one of holding fresh flowers—”with such style.” A design piece meeting the growing demand for flexibility, aesthetic appeal, and functionality.

Fleur’s design is a refined example of Dordoni’s mastery in creating objects that not only enhance a space with their aesthetic presence but also offer practicality and versatility. It’s a sophisticated yet accessible stylistic exercise, where the transparency and lightness of the glass base—designed to hold water and flowers—are elegantly paired with the refined colors of the lighting body, crafted to cast a broad beam of light across the surface.

Clean lines and high-quality materials define this portable table lamp, which combines poetry, functionality, and energy efficiency. It’s this fusion that impressed the judges, demonstrating how design can evolve to meet contemporary needs without sacrificing elegance.

Lee Wagstaff’s artistic journey, from the quiet introspection of childhood sketches and his early fascination with scientific drawings to his formal education at St. Martins and The Royal College of Art in London, is characterized by a vibrant exploration of geometric patterns. His distinctive style is rooted in the rich interplay of forms and motifs. Wagstaff’s art is all about observation. His unique aesthetic, reminiscent of Optical Art’s illusions, Surrealism’s dreamscapes, and Pop Art’s vibrancy, transcends ordinary perception, evoking a sense of wonder and curiosity. Upon closer inspection, his creations reveal hidden depths and intricate details. Step back, and you can spot hidden faces, characters, and stories.

In his series for Foscarini’s “What’s in a Lamp?” project, the British artist crafts a parallel reality inhabited by magicians, jesters, and spirits whose enigmatic faces subtly emerge amidst geometric, colorful patterns. Within Foscarini’s lamp collection, where each piece has a story to tell, Wagstaff finds a segue for storytelling, driven by relentless innovation and imagination. From the mystical genie of Plass to the vibrant jester Orbital, from the many-eyed monarch in Caboche to the spirit sisters in Spokes, Wagstaff infuses the lamps of the collection with soul.

Discover Lee Wagstaff’s full series on @foscarinilamps Instagram, and be inspired by the artist’s perspective through our interview, offering insight into his vision and artistic process.

Tell us a bit about yourself and your journey as an artist. Where did it all   start?   Is there a   story behind how you became an artist?

I was a very quiet, introverted child, so I used to draw a lot, mostly nature. At school, I really loved science classes, not for the knowledge but because I loved illustrating my homework. Art was something I drifted into as I had some artistic friends, so I would go to evening classes with them. Eventually, I went to St. Martins and then The Royal College of Art in London. For me, art was not a career; it was something I did as a way to observe the world more intensely.

Your artistic aesthetic is incredibly unique, featuring hypnotic patterns that reveal realistic faces when observed from a distance. How would you personally describe your distinctive style?

People ask me this a lot. I have liked patterns and geometry for as long as I can remember; this perhaps goes back to my love of making scientific drawings. In biology, there are a lot of patterns. As I began to study art, I wanted to explore more hard-edge patterns. In my work, there are elements of Optical Art, Pop Art, Surrealism, and abstraction. I would say that I like to work within a traditional framework but see if I can push myself technically and intellectually.

We are curious to know more about how your unique expressive style evolved: did it develop naturally over time, or was it a result of deliberate research and experimentation?

I experiment a lot, and it took years to develop into how I make art now. I hope it will keep developing. Believe it or not, my long-term aim is to make the simplest art I can, but I feel it has to get more complex first.

Why are patterns so prominent in your art? What significance do they carry for you?

Patterns are indicators that help to predict things. I am interested in all kinds of patterns, not just decorative patterns, but also behavioral patterns or finding patterns in history. I am always trying to make connections between seemingly unrelated objects, events, or people.

What is your creative process like when you’re working on your artworks? Do you follow specific rituals or habits when dedicating yourself to drawing?

Yes, I am very ritualistic about the times of day I work, where I work, the materials I use, etc. I usually work on at least six paintings at once, possibly more. Many pictures are destroyed.

Can you share insights into your creative process and storytelling, especially in this series?

This was an interesting project, more challenging than I expected. I have never had to express someone else’s artistic vision through my own stylistic lens. I hope that I have been respectful to the designers yet also true to my own vision. This project pushed me to be more experimental with color but also to really imagine that these hybrid objects/characters could really exist. Usually, I begin by closely observing patterns and shapes, then I imagine faces, and then the faces begin to take on a character. The focus of my art is to try and portray some kind of mystery or essence, but I also want the viewer to at first distrust their senses, then hopefully delight in what they think they may have seen. I let the viewer build the character in their mind; perhaps they are reminded of someone they know or a face they have seen somewhere.

Can you describe the characters you envisioned for the “What’s in a Lamp?” series and explain the inspiration behind each one?

As soon as I saw Foscarini lamps collection I could see that the designers also love pattern and form. I immediately began to see faces within or around the lamps and to build characters in connection to the brilliant names of the lamps.
Plass is a magic spirit, like a genie inhabiting a vessel, watching from beneath the crystalline surface, waiting to grant a wish or make a prophecy. Orbital is a vibrant jester, always there to bring joy with color and form, a steady companion for the good days and the bad. Gregg is a Goddess born of a cosmic egg who resonates and illuminates; her beauty is eternal, her glow supernatural. Spokes are three shy spirits, sisters who only appear to those with the sharpest imaginations who are willing to watch and wait. As the shadows move, the sisters appear. Caboche is a many-eyed monarch. Her diadem covers her face, each bead a lens. She is all-seeing, all-knowing. A little of her beauty and wisdom is bestowed on all who appear in her presence. Sun Light of Love is a true celestial being. By day, a spiky, curious silhouette, a planet with hidden depths; at night, a burning star, a true beacon of love.

Among the artworks in your “What’s in a Lamp?” series, do you have a personal favorite? If so, what makes it stand out for you?

That is quite hard; I feel very connected with all the six lamps I portrayed. I spent a lot of time looking at them and imagining what I could add to those forms. If I had to choose one, it would be Gregg just because it is a unique geometric form in its own right, which is a building block to create any pattern. It is elegant in its simplicity and has such a charming and calming presence. Wherever it sits, it has a quiet, gentle power to add to its environment, whether it is inside or outside, large or small.

Have you ever explored incorporating AI into your artistic process? From your perspective, how might AI contribute to pushing the boundaries of artistic innovation and expression?

I have used Generative Adversarial Networks (GAN) to create unique symmetrical faces for my paintings. With the GAN system I used, one could add faces and ‘breed’ them with the thousands of faces that the network had been trained on. So I could introduce elements such as a family member or the face of Mona Lisa. For me, it is just a tool like Photoshop or a pen.AI programs at the moment are fun and can help with many projects. At first, AI is expansive, allowing many more people to participate in the world of creating images and ideas. It can create content, but it does not have imagination, and that is something that cannot be learned at the moment. The way popular AI platforms work is a kind of predictive reordering of data points. To me, it is quite amazing, especially the speed, but the results are mostly disappointing because most of the results are very populist, even predictable.

What is creativity for you?

For me, creativity is starting with nothing or very little in front of you and then bringing an idea from a thought into the world that might be shared or used. I suppose it’s about solving a problem, but not always by the simplest or most obvious way.