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Beroe Ovata (Dedal).
Barcelona, 2022.


42 x 23 x 67 cm

Glass, gypsum and LED light.

Price upon request

Inspired by the Beroe Ovata of the Mediterranean sea. They are usually confused with jellyfishes, but anatomically they are different. Its rows of combs (cilia) provides them propulsion, and its latent action make it appear as there’s an iridescent light moving between the rows of combs, just as in the sculpture the light from the central structure is reflected onto the outer tentacles.

The glass structure in the middle is actually hanging by the two light pilars and it’s not attached to them, making a parallelism on the fragility and flexibility.

베로에 오바타 (데달).
바르셀로나, 2022.

42 x 23 x 67 cm

유리, 석고 및 LED 조명.

가격은 요청 시 제공됩니다.

지중해의 베로에 오바타에서 영감을 받았습니다. 일반적으로 해파리와 혼동되지만 해부학적으로 다릅니다. 빗줄기(섬모)가 추진력을 제공하고, 그 잠재적인 작용으로 인해 중앙 구조물의 빛이 바깥쪽 촉수에 반사되어 조각에서처럼 빗줄기 사이로 무지개 빛이 움직이는 것처럼 보이며, 가운데의 유리 구조물은 실제로는 두 개의 조명 기둥에 매달려 있고 부착되어 있지 않아 연약함과 유연성을 평행하게 표현했습니다.


Detail of Beroe Ovata (Dedal) lamp made with blown glass from Plaja Studio, Medi Terraneum collection. DBeroe Ovata (Dedal) on a white background, lamp made with blown glass from Plaja Studio, Medi Terraneum collection. Detail of Beroe Ovata (Dedal) lamp made with blown glass from Plaja Studio, Medi Terraneum collection. Detail of Beroe Ovata (Dedal) lamp made with blown glass from Plaja Studio, Medi Terraneum collection.

Biography






Josep Plaja (Girona, 1996) is a contemporary designer based between Barcelona and the Costa Brava whose work focuses on the study of glass and light through biomimicry. Inspired by bioluminescent animals from the seabed, Plaja combines an aesthetic centred on shape, the rawness of materials, and the relationships established between them.

Graduated in Audiovisuals and Multimedia at the University of Girona / EU ERAM and later completed a Master’s degree in Exhibition Space Design at the Polytechnic University of Catalonia in collaboration with the CCCB.

His work centres on exploring the relationship between light and glass, finding inspiration in bioluminescent creatures and using their natural radiance as a basis for his designs, represented in an abstract and evocative way. Moreover, his creative process emphasises the versatility of materials, allowing each collection and project to adapt to its concept and production environment. This approach not only deepens the connection between the artwork and its place of production, but also encourages new relationships between glass and other refined materials—expanding the possibilities of form, texture, and material interaction while remaining open to both traditional and innovative production methods.

His pieces generate a dialogue between the object and the viewer, attempting to turn the latter into their own prey, much like bioluminescent animals use light to attract and hunt. The attraction generated by light, contrasted with the aggressiveness and fragility of glass, creates a parallel with these creatures that are beautiful yet dangerous at the same time. Through this tension, Plaja reflects on those toxic elements that seduce us purely through their beauty.