Info @danielarsham .com
Here’s the story behind the crystal eroded 1961 Ferrari GT California: After I completed the Delorean I was looking for another Iconic Car to cast. I was watching a lot of 80’s movies at the time and this Ferrari from Ferris Bueller’s Day Off is similar to the Delorean in that it is critical to the film plot and is an iconic car in its own right. Only 55 of these were produced in 1961 so I was not able to find an original. After doing research into the film I discovered that a movie prop master made replicas for John Hughes to use in the film. I tracked down the original prop master in Kentucky and he still had the mold of the car from the movie! I hired him to create the base for this sculpture from that mold, so my work has a link directly to both the film as well as to the original 1961 Ferrari. This work is now in the collection of the Legendary New York Collector Larry Warsh.
You haven’t seen it all yet ✌🏼
Some more details of the Artwork I made with Sorayama-san. This work was extremely complex and took nearly two years to create. The main difficulty was intertwining the fingers of the robot arm, and the stone arm. We wanted to keep true to our respective materials, his being metal and polished, mine being stone and matte. After multiple failures in my studio we finally developed a new technique for the stone arm that allowed the two to join perfectly. The work for me is a meditation on the past and future, along with references to historical sculpture and human interaction.
Here is the Story behind the Eroded Delorean/ For a few years I had been thinking about creating a crystalized car as an artwork. I looked at a few different models and the Delorean stood out for me because it is both an icon of the Future in terms of its place in automotive history, as well as its status as one of the most recognizable Movie cars of all time. After searching for some months I finally managed to locate one in California. I asked @jameslaw1 to go and see it to be sure its condition was sufficient. When the car arrived in the studio I sat with my team trying to figure out how to cast something this large. We all determined that using my traditional method would not work as the piece would collapse under its own weight. Instead we disassembled the entire car, cast each panel and component separately, then put it back together using the original chasis as a base. The completed work was first shown in my exhibition 3018 at @galerieperrotin . The work is now in the collection of @mosaicartfoundation and we are in discussions to place it on view to the public in the coming years.
Ronnie made it to Basel after all. The last two images show the Pasadena lamp I made based on my time working with @nasajpl and some beautiful sea glass I found on the beach near my home.
I have always made furniture for my home and studio. Some early pieces in my Miami studio around 2003 were made of blocks of recycled foam cut out to make chairs or tables. I never thought to show any of it until Marc at @friedman_benda suggested I put something together for Design Miami. The space is a sort of combination of my home office and my Queens NY studio. Some of the works are based on those early foam eroded blocks but now rendered in a beautiful opaque Resin. The upholstered furniture all uses the Arsham Studio dyed canvas (the same type I used on the Porsche 992 interior artwork ). The carpet was handwoven in Nepal. None of the furniture was made as an Artwork to look at and not touch. It’s all comfortable, and designed to be used! If you stop booth please don’t be shy, sit in the chairs!
“The majority of the redesign focused on the master-bedroom suite. Arsham removed two bathrooms, a laundry room, and a bedroom to create a larger master bath and an office/gym. He points out that “Jaffe spent a lot of time in Japan after World War II, and this was a big influence on his entire practice. Stephanie is Japanese/French, and we incorporated many Japanese design elements and materials.” From the December issue of @archdigest
Sitting in the Cleveland Chair, in front of a Carpet containing plans for its Design, holding the 19th Century Meiji Era Daruma Bronze I finally brought into my collection.
I knew I wanted to make a carpet for my project at Design Miami but I couldn’t figure out the design. After staring at the floorplan of the space for a couple hours I had this idea, The Floorplan IS the rug! 💡 The Carpet was hand woven in Nepal by @noreen .seabrook. It will be shown next week at @designmiami with @friedman_benda as part of my Objects for Living exhibition.
I like to draw.
I bought some Art while I was in Japan.
“It is sometimes an appropriate response to reality to go insane.” -Philip K. Dick / Making art is the only way go outside Reality without actually going insane.-
A long time ago in a galaxy far, far away.... Meeting with @nigo - san at his private space port in Tokyo. He is now a member of the Arsham Studio Porsche Driving Team.
Holding hands with Sorayama-san. Transhumanism in 4019. Toraichi pants are a thing in the future, you’ll see.
I myself don’t even know what year this is. The object conveys a narrative. What is the story?
When I purchased this 1969 @normanjaffe house it was in relatively good condition except for the garden and bathrooms. @snarkitecture completely redesigned the Master bathroom and I designed the garden based on those I have experienced in Kyoto. Using Norman’s original materials in the bathroom we created a cedar panel screen that was offset an inch from the wall to allow lighting behind. The tub was hand carved in Portugal from a single block of stone. I wanted it rough and textured on the exterior leading to a perfectly honed interior. The garden passes under the original Jaffe bridge and includes three large moss covered stones I hand selected in the mountains in Pennsylvania as well as a few cast bronze works I created which form islands in the sea of gravel. I clean and rake the garden weekly and change the patterning based on the season. Thank you @archdigest @amyastley @gaygassmann @jasonschmidtstudio for recognizing @normanjaffe ’s brilliant architecture and highlighting his place in the History of American Modern Architecture.