different modes and effects of shedding light: flame
and tungsten. Melting Light, a bulb captured in a
photogram, is halfway between form and liquefaction.
Plant Light is a bulb transformed into a terrarium, a
container for the plant that colonises it. White Light, is
a simple portrayal of the fundamental form, ‘the matrix
of everything, where everything can still happen’.
‘This series comes from the idea of disrupting the
classic design of incandescent light bulbs,’ says Wines,
‘an idea that suggests a critical reflection on the
absolutely non-iconic forms of modern LED lamps.
The concept, implemented by Foscarini, stems from
research on the spontaneous way people identify
with forms and functions of everyday objects. In this
case, the light bulbs merge, crack, shatter, burn out,
overturning any expectations.’
All the pieces of the series have been shown at the
Foscarini showroom in Milan, and in London and
New York. They were displayed in the Reverse Room, a
special installation created by Wines with his daughter
Suzan, an architect and partner of I-Beam Design.
Playing on the idea of a surreal inversion, pendants
reflection on the non-iconic
forms of modern LED lamps’
sprouted from the floor, and table lamps hung from the
ceiling, challenging the viewers’ perception of spaces
and their response to stimuli and conventions.
‘Explorations that are never indulgent, never merely
a question of form,’ says Foscarini co-founder and
president Carlo Urbinati, ‘that belong to what has
become the codified language of James Wines –
alterations, transformations, ruins, fusions – with
which we, as Foscarini, can identify.’
Above: the Reverse Room, an installation created by Suzan Wines
with her father
Opposite and overleaf: concept sketches, some unrealised, and
the final designs