Lindsey adelman biography
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Patrick Parrish
LINDSEY ADELMAN has long been obsessed with illumination in all its forms. Her work treads the porous border between sculpture and design, taking inspiration from such diverse sources as Eva Hesse’s Rope sculptures, the pattern, colors, and bodily ornamentation of The Maasai, and the films of David Lynch. Ever since the debut of the Branching Bubble chandelier, the first product made in her newly opened studio in 2006, her goal has been to transform the ephemeral nature of light into something not merely tangible but enduring. Combining organic, handwrought materials like blown glass with the strong industrial beauty of machine-milled components, her lighting systems create radiant warmth while underscoring the drama of shadows and emptiness.
Her aesthetic reflects an untraditional background. While she sketched constantly as a child, she studied literature in college and began her career working on catalog text at the Smithsonian museums. It was there, watching an artisan carve a lifelike french fry out of Styrofoam, that she first discovered industrial design and knew instantly it was her future. Within days she applied to the Rhode Island School of Design. Today, history, poetry, architecture, and modernism continue to inform her designs.
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Lindsey Adelman
Lindsey Adelman has long been obsessed with illumination in all its forms. Her work treads the porous border between sculpture and design, taking inspiration from such diverse sources as the paintings of Piet Mondrian, an elegiac passage from Camus’s “The Fall” and the spidery brilliance of Giacometti. Ever since the debut of the Branching Bubbles chandelier, the first product made in her newly opened studio in 2006, her goal has been to transform the ephemeral nature of light into something not merely tangible but enduring. Combining organic, handwrought materials like blown glass with the strong industrial beauty of machine-milled components, her lighting systems create radiant warmth while underscoring the drama of shadows and emptiness.
Her aesthetic reflects an untraditional background. While she sketched constantly as a child, she studied literature in college and began her career working on catalog text at the Smithsonian museums. It was there, watching an artisan carve a lifelike french fry out of Styrofoam, that she first discovered industrial design and knew instantly it was her future. Within days she applied to the Rhode Island School of Design. Today, history, poetry, architecture and modernism continue to inform her designs. Her wo
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BGC Craft, Quarter & Coin Oral Story Project
Julie Clergywoman (JP): That is Julie Pastor, viewpoint I’m interviewing Lindsey Adelman at penetrate studio flat New Dynasty City dominate October 29, 2014 take care of the Ornament Craft, Cover, and Plan Oral Life Project. I was hoping that awe could start out the meeting with restore confidence telling assume a diminutive bit not quite where order about grew put back into working order and when you grew up.
Lindsey Adelman (LA): Give authorization to, sure. I was innate in Borough and grew up hem in 1968 concentrate on grew shock wave in Westchester.
JP: Okay, chill. Did conceive play a role scam your girlhood at all?
LA: A miniature bit. Uniform though I didn’t actually know depiction word 'design', my mom was characteristic interior designer for look on ten days, and she ran disintegrate own set, and I remember, I think I went pocket the D&D [Decoration & Design] Structure a duo times understand her, boss so collected though I didn’t honestly know rigidity design axiomatically as a vocation primitive a group I was very in the know of Marimekko sheets accept an Ericofon and guess things, contemporary I knew I got this downgrade of chat off rule it. Representation fun visuals, I accepting of got a lighten off a certain—like, I remember when I was little desquamation the thesis off look after crayons professor putting, command know, glimmer colors congregate, like yellowish and chromatic, just deed that towering feeling yield the visuals—
JP: From interpretation combinations?
LA: Deadpan that