Ray Power & Mariví Calvo / Miguel Herranz

Ray Power:
Ray Power (Ireland 1975), graduated from the Dublin Institute of Technology in 1997 and moved to Spain. He has collaborated with LZF Lamps since 1998. His more recent designs Air (2008) and Link (2007) have been awarded the Red Dot and the Chicago Good Design awards respectively. His work has been exhibited in Milan, Valencia, Dublin, Madrid and Tokyo and he continues to work on lighting design projects for LZF Lamps. His trademark style relies heavily on geometry and an innate ability to produce exciting three dimensional forms from flat materials.

Mariví Calvo:

Mariví Calvo (Valencia, 1960) holds a degree in Art History and Fine Arts. She continued her post-graduate studies at the Pratt Institute, New York, specialising in the collagraph technique.

From 1986 to 1992 she exhibited her art on both sides of the Atlantic basing her studio in New york, Madrid and Paris. When in Paris in 1991 she began to write and work on “The Kitchen Woman” a surrealist dance performance in which she worked on the costumes and set design and whose results also gave her a large amount of source material for subsequent art exhibitions using a mixed technique of photography on canvas paintings.

In 1994 she co-founded Luzifer Lamps along with Sandro Tothill, a company making handmade wood veneer lighting fixtures. Since then she manages the company with the help of Sandro and has developed and directs all aspects of the creative art department of the company. She has designed some of the companies more emblematic lighting fixtures, such as The Totem, The Cosmos, The Guijarros and the Gea collections, as well as been responsible for the design of all the company’s exhibits and with the help of Lekuonastudio creates the company’s prize winning campaigns.

Miguel Herranz:

I currently design under a work ethic which I have dubbed “regulated chaos”. This so called “regulated chaos” is a plastic and creative tool that I use to develop my most singular projects or those whose formal richness contrasts with its constructive simplicity. The aim is to find the object’s own identity, dissociated from the iconography that surrounds the object itself, to achieve a sculptural volume with a great visual impact. The resultant object will be of a great complexity from the formal point of view (which, again, will contrast with its constructive simplicity) and transmit that calmness of the chaos we see in Nature: the beauty of entropy.



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