Issue link: https://read.dmtmag.com/i/32301
10 3 (6) The lamps’ hairy tentacles—which allude to the deep-sea creatures that inspired the overall collection—were cast individually in tiny filament molds, embedded in the epoxy lamp frames, and either trimmed to size or left to spill out the sides wildly. (7) Part of Car- bonell’s motivation for using epoxy resin was the fact that it’s synthetic, and highly toxic to work with (hence the masks his team had to wear during fabrication). His aim was to set up a provocative contradiction between seem- ingly natural forms and the kind of highly un- natural materials we surround ourselves with. (8) Another shot of Carbonell in a mask, this one taken at Design Miami/ last year, just after he’d finished covering a wall with cham- pagne labels and black paint for Dom Ruinart. 8 8 9 5 (5) A sketch of one of the new Luciferase pieces for Design Miami/Basel. (9) A particularly hairy Luciferase piece, whose fila- ments act as a light diffuser. “I don’t know if I’d call these objects lamps,” Carbonell muses. “They have a light of their own. They’re creatures.” (10) The Lu- ciferase project installed at Galerie BSL in February. 7 6 88 CULTURED CULTURED 75