Арика Леви
アリック·レヴィ
אריק לוי
아릭 레비
阿里克利维
أريك ليفي

Wireflow lighting fixtures

source: designboom

wireflow’ explores geometries in two and three dimensions through a series of pendant lighting fixtures which are composed of simple elements, whereby from certain angles they appear flat, like a line drawing suspended in the air. designed by arik levy, the structures are formed by thin rods which end with LED terminals (3W) for illumination, continuing the visual fluidity of the lines. produced by spanish company VIBIA, ‘wireflow’ explores presence and absence, transparency and luminosity, light and fluidity.
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source: revistacodigo

Explorar geometrías en dos o tres dimensiones es la idea con la cual Arik Levy (Francia, 1963) dio forma a Wireflow, una luminaria colgante producida por la compañía española VIBIA.
Wireflow reintepreta el diseño de una lámpara común mediante elementos geométricos que hacen que cada lámpara luzca como un dibujo suspendido en el aire. La estructura está conformada por varillas delgadas que rematan con terminales de LED, con lo que se crea una continuidad visual de líneas y puntos de luz. La lámpara puede colocarse en conjunto con otras de figuras distintas para crear un sistema de iluminación escultural con carácter único y contemporáneo.
Según Levy, Wireflow representa de manera simultanea presencia y ausencia, transparencia y luminosidad, iluminación y fluidez. Levy es conocido por sus esculturas e instalaciones de iluminación y mobiliario, pero también ha diseñado sets para ópera y danza contemporánea, ha filmado cortometrajes y realizado proyectos fotográficos, además de diseñar prendas y accesorios con nuevas tecnologías.
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source: lvshedesign

“wireflow”吊灯系列探索了几何形元素在二维和三维空间的利用，这些灯具由简单的配件组成，从一些特定的角度看，它们就像扁平的图形或是一条条悬挂在空中的线条。这个系列是由arik levy设计的，设计师选用纤细的金属杆，并在端头安装LED照明灯，延续了灯具流动的线性特征。“wireflow”由西班牙公司VIBIA生产制作，这个设计反映了存在与缺失、透明与发光、灯光与流动性的概念。
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source: svetoria

Светильники Wireflow исследуют геометрии в двух и трех измерениях через серию подвесных светильников, которые состоят из простых элементов,
которые под определенным углом кажутся плоскими, как линия нарисованная подвешенной в воздухе. Разработанный Ариком Леви, структуры формируются из тонких стержней, которые заканчиваются светодиодной лампой (3 Вт) для освещения, продолжая визуально текучесть линий. Производясь испанской компанией VIBIA, ‘wireflow’ исследует присутствие и отсутствие, прозрачность и яркость, свет и текучесть.
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source: ariklevyfr

“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.”