Recognised all over the world for its exceptional expertise, Baccarat has been writing the history of light ever since its first collection of chandeliers was created in the mid-19th century.
That history combines tradition and innovation, extreme refinement and new technologies, to translate the legends of the past into the language of the present. Throughout this special exhibition at the Palazzo Morando Baccarat celebrated the French Art de Vivre, and unveiled to the design public its latest collection of lights
From the Eiffel Tower at dawn to the sun setting over the Paris Opera, the exhibition showcases the magic and influence of crystal. The City of Light serves as the perfect backdrop, allowing each exhibit, whether indoors or out, in one of the many gardens, to show off its hypnotic charms. Brightness, incandescence and sparkle take this collection to new heights
One of the most beautiful new pieces in the 2013 Baccarat collection is Arik Levy‘s lighting piece ‘tuile de cristal chandelier’ which made its debut at Palazzo Morando.
“The ideal light is simply one that we can feel,” says Levy. “Crystal derives its strength from coming into contact with light. And vice versa.”
Instead of creating an entire chandelier, the French designer has conceived a single element, a crystal tile–in two styles, ‘frozen’ and ‘picadilly’– which are arranged in multiple fragments, around a metal frame of varying diameters: ø 50 cm, 3 tiers; ø 69 cm, 4 levels; ø 87 cm, 4 levels
One style uses chaotic overlapping cuts engraved into the surface that create linear prisms and diffuse light onto its environment in playful dynamic ways. The other uses regular parallel vertical etchings in the individual units that recalls the history of glass cutting and the company’s legacy
The owner will then be engaged in the actual construction and ‘building-up’ of their own lighting piece–something which draws formal qualities from a chandelier, but which doesn’t necessarily follow the conventional assembly or construction of one.
Both crystal types provide a familiar memory represented in a new form.
Its client-based design also allows a greater architectural potential, as a refined raw material it lets the user instantaneously customize the piece for the correct aesthetic and lighting qualities to compliment a domestic environment.
Arik Levy spent a great deal of time with the workers and the machines in the Baccarat factory to gain an internal knowledge of the process behind the creations.
About Arik Levy
“Creation is an uncontrolled muscle” according to Arik Levy (born 1963).
Artist, technician, photographer, designer, filmmaker, Levy’s skills are multi-disciplinary and his work can be seen in prestigious galleries and museums worldwide. Best known publicly for his sculptures – such as his signature Rock pieces -, his installations, limited editions and design, Levy nevertheless feels “The world is about people, not objects.”
Hailing originally from Israel and moving to Europe after his first participation in a group sculpture exhibition in Tel-Aviv in 1988, Levy currently works in his studio in Paris.
His formation was unconventional where surfing, as well as his art and graphic design studio, took up much of his time back home. Following studies at the Art Center Europe in Switzerland he gained a distinction in Industrial Design in 1991.
After a stint in Japan where he consolidated his ideas producing products and pieces for exhibitions, Levy returned to Europe where he contributed his artistry to another field – contemporary dance and opera by way of set design.
The creation of his firm then meant a foray back to his first love, art and industrial design, as well as other branches of his talents. Respected for his furniture and light designs on all continents, Levy also creates hi-tech clothing lines and accessories for firms in the Far East.
Considering himself now more of a “feeling” artist, Arik Levy continues to contribute substantially to our interior and exterior milieu, his work including public sculpture, as well as complete environments that can be adapted for multi use. “Life is a system of signs and symbols,” he says, “where nothing is quite as it seems.”