Instagram Story Viewer

@danielarsham on the one piece of advice he was given from his mentor that most resonates with him: “The longer you wait to take that chance in your life, the shorter the future is going to be when you arrive there.” #FallonTonight

Finishing the last paintings for my exhibition “20 YEARS” opening at @perrotin Paris September 2nd and @perrotin NYC on September 6th. Mark your calendars. I look forward to seeing you there. 🙇🏻

Finishing the last paintings for my exhibition “20 YEARS” opening at @perrotin Paris September 2nd and @perrotin NYC on September 6th. Mark your calendars. I look forward to seeing you there. 🙇🏻

Finishing the last paintings for my exhibition “20 YEARS” opening at @perrotin Paris September 2nd and @perrotin NYC on September 6th. Mark your calendars. I look forward to seeing you there. 🙇🏻

Finishing the last paintings for my exhibition “20 YEARS” opening at @perrotin Paris September 2nd and @perrotin NYC on September 6th. Mark your calendars. I look forward to seeing you there. 🙇🏻

Finishing the last paintings for my exhibition “20 YEARS” opening at @perrotin Paris September 2nd and @perrotin NYC on September 6th. Mark your calendars. I look forward to seeing you there. 🙇🏻

Finishing the last paintings for my exhibition “20 YEARS” opening at @perrotin Paris September 2nd and @perrotin NYC on September 6th. Mark your calendars. I look forward to seeing you there. 🙇🏻

Finishing the last paintings for my exhibition “20 YEARS” opening at @perrotin Paris September 2nd and @perrotin NYC on September 6th. Mark your calendars. I look forward to seeing you there. 🙇🏻

Arsham Studio Archive: ‘Blue Calcite Eroded Porsche 911’ (2023)

In 2023 I built this eroded Porsche 911 using fiberglass, hydrostone, quartz, selenite, and blue calcite, a naturally occurring mineral known for its pale blue tone and translucent surface quality, embedded directly into the bodywork. Developed around the shell of an air-cooled Porsche 911, sections of the exterior were removed and reconstructed through cast surfaces, carved voids, and mineral formations emerging from inside the vehicle itself.

I’ve always been drawn to the shape of these cars, not only the engineering behind them, but the visual characteristics as well. The form feels strong, but there’s also a softness to it. I’ve always loved the balance between those two things.

Compared to quartz, blue calcite carries a softer and colder appearance, which became central to this version of the sculpture. The mineral formations were integrated directly into the silhouette of the vehicle rather than applied as decoration, altering the surface and structure of the original body.

The work was exhibited at the Petersen Automotive Museum in Los Angeles as part of Arsham Auto Motive, alongside a series of automotive sculptures and interventions focused on material transformation and automotive form.

Arsham Studio Archive: ‘Blue Calcite Eroded Porsche 911’ (2023)

In 2023 I built this eroded Porsche 911 using fiberglass, hydrostone, quartz, selenite, and blue calcite, a naturally occurring mineral known for its pale blue tone and translucent surface quality, embedded directly into the bodywork. Developed around the shell of an air-cooled Porsche 911, sections of the exterior were removed and reconstructed through cast surfaces, carved voids, and mineral formations emerging from inside the vehicle itself.

I’ve always been drawn to the shape of these cars, not only the engineering behind them, but the visual characteristics as well. The form feels strong, but there’s also a softness to it. I’ve always loved the balance between those two things.

Compared to quartz, blue calcite carries a softer and colder appearance, which became central to this version of the sculpture. The mineral formations were integrated directly into the silhouette of the vehicle rather than applied as decoration, altering the surface and structure of the original body.

The work was exhibited at the Petersen Automotive Museum in Los Angeles as part of Arsham Auto Motive, alongside a series of automotive sculptures and interventions focused on material transformation and automotive form.

Arsham Studio Archive: ‘Blue Calcite Eroded Porsche 911’ (2023)

In 2023 I built this eroded Porsche 911 using fiberglass, hydrostone, quartz, selenite, and blue calcite, a naturally occurring mineral known for its pale blue tone and translucent surface quality, embedded directly into the bodywork. Developed around the shell of an air-cooled Porsche 911, sections of the exterior were removed and reconstructed through cast surfaces, carved voids, and mineral formations emerging from inside the vehicle itself.

I’ve always been drawn to the shape of these cars, not only the engineering behind them, but the visual characteristics as well. The form feels strong, but there’s also a softness to it. I’ve always loved the balance between those two things.

Compared to quartz, blue calcite carries a softer and colder appearance, which became central to this version of the sculpture. The mineral formations were integrated directly into the silhouette of the vehicle rather than applied as decoration, altering the surface and structure of the original body.

The work was exhibited at the Petersen Automotive Museum in Los Angeles as part of Arsham Auto Motive, alongside a series of automotive sculptures and interventions focused on material transformation and automotive form.

Arsham Studio Archive: ‘Blue Calcite Eroded Porsche 911’ (2023)

In 2023 I built this eroded Porsche 911 using fiberglass, hydrostone, quartz, selenite, and blue calcite, a naturally occurring mineral known for its pale blue tone and translucent surface quality, embedded directly into the bodywork. Developed around the shell of an air-cooled Porsche 911, sections of the exterior were removed and reconstructed through cast surfaces, carved voids, and mineral formations emerging from inside the vehicle itself.

I’ve always been drawn to the shape of these cars, not only the engineering behind them, but the visual characteristics as well. The form feels strong, but there’s also a softness to it. I’ve always loved the balance between those two things.

Compared to quartz, blue calcite carries a softer and colder appearance, which became central to this version of the sculpture. The mineral formations were integrated directly into the silhouette of the vehicle rather than applied as decoration, altering the surface and structure of the original body.

The work was exhibited at the Petersen Automotive Museum in Los Angeles as part of Arsham Auto Motive, alongside a series of automotive sculptures and interventions focused on material transformation and automotive form.

Arsham Studio Archive: ‘Blue Calcite Eroded Porsche 911’ (2023)

In 2023 I built this eroded Porsche 911 using fiberglass, hydrostone, quartz, selenite, and blue calcite, a naturally occurring mineral known for its pale blue tone and translucent surface quality, embedded directly into the bodywork. Developed around the shell of an air-cooled Porsche 911, sections of the exterior were removed and reconstructed through cast surfaces, carved voids, and mineral formations emerging from inside the vehicle itself.

I’ve always been drawn to the shape of these cars, not only the engineering behind them, but the visual characteristics as well. The form feels strong, but there’s also a softness to it. I’ve always loved the balance between those two things.

Compared to quartz, blue calcite carries a softer and colder appearance, which became central to this version of the sculpture. The mineral formations were integrated directly into the silhouette of the vehicle rather than applied as decoration, altering the surface and structure of the original body.

The work was exhibited at the Petersen Automotive Museum in Los Angeles as part of Arsham Auto Motive, alongside a series of automotive sculptures and interventions focused on material transformation and automotive form.

Arsham Studio Archive: ‘Blue Calcite Eroded Porsche 911’ (2023)

In 2023 I built this eroded Porsche 911 using fiberglass, hydrostone, quartz, selenite, and blue calcite, a naturally occurring mineral known for its pale blue tone and translucent surface quality, embedded directly into the bodywork. Developed around the shell of an air-cooled Porsche 911, sections of the exterior were removed and reconstructed through cast surfaces, carved voids, and mineral formations emerging from inside the vehicle itself.

I’ve always been drawn to the shape of these cars, not only the engineering behind them, but the visual characteristics as well. The form feels strong, but there’s also a softness to it. I’ve always loved the balance between those two things.

Compared to quartz, blue calcite carries a softer and colder appearance, which became central to this version of the sculpture. The mineral formations were integrated directly into the silhouette of the vehicle rather than applied as decoration, altering the surface and structure of the original body.

The work was exhibited at the Petersen Automotive Museum in Los Angeles as part of Arsham Auto Motive, alongside a series of automotive sculptures and interventions focused on material transformation and automotive form.

Arsham Studio Archive: ‘Blue Calcite Eroded Porsche 911’ (2023)

In 2023 I built this eroded Porsche 911 using fiberglass, hydrostone, quartz, selenite, and blue calcite, a naturally occurring mineral known for its pale blue tone and translucent surface quality, embedded directly into the bodywork. Developed around the shell of an air-cooled Porsche 911, sections of the exterior were removed and reconstructed through cast surfaces, carved voids, and mineral formations emerging from inside the vehicle itself.

I’ve always been drawn to the shape of these cars, not only the engineering behind them, but the visual characteristics as well. The form feels strong, but there’s also a softness to it. I’ve always loved the balance between those two things.

Compared to quartz, blue calcite carries a softer and colder appearance, which became central to this version of the sculpture. The mineral formations were integrated directly into the silhouette of the vehicle rather than applied as decoration, altering the surface and structure of the original body.

The work was exhibited at the Petersen Automotive Museum in Los Angeles as part of Arsham Auto Motive, alongside a series of automotive sculptures and interventions focused on material transformation and automotive form.

Arsham Studio Archive: ‘Blue Calcite Eroded Porsche 911’ (2023)

In 2023 I built this eroded Porsche 911 using fiberglass, hydrostone, quartz, selenite, and blue calcite, a naturally occurring mineral known for its pale blue tone and translucent surface quality, embedded directly into the bodywork. Developed around the shell of an air-cooled Porsche 911, sections of the exterior were removed and reconstructed through cast surfaces, carved voids, and mineral formations emerging from inside the vehicle itself.

I’ve always been drawn to the shape of these cars, not only the engineering behind them, but the visual characteristics as well. The form feels strong, but there’s also a softness to it. I’ve always loved the balance between those two things.

Compared to quartz, blue calcite carries a softer and colder appearance, which became central to this version of the sculpture. The mineral formations were integrated directly into the silhouette of the vehicle rather than applied as decoration, altering the surface and structure of the original body.

The work was exhibited at the Petersen Automotive Museum in Los Angeles as part of Arsham Auto Motive, alongside a series of automotive sculptures and interventions focused on material transformation and automotive form.

Arsham Studio Archive: ‘Blue Calcite Eroded Porsche 911’ (2023)

In 2023 I built this eroded Porsche 911 using fiberglass, hydrostone, quartz, selenite, and blue calcite, a naturally occurring mineral known for its pale blue tone and translucent surface quality, embedded directly into the bodywork. Developed around the shell of an air-cooled Porsche 911, sections of the exterior were removed and reconstructed through cast surfaces, carved voids, and mineral formations emerging from inside the vehicle itself.

I’ve always been drawn to the shape of these cars, not only the engineering behind them, but the visual characteristics as well. The form feels strong, but there’s also a softness to it. I’ve always loved the balance between those two things.

Compared to quartz, blue calcite carries a softer and colder appearance, which became central to this version of the sculpture. The mineral formations were integrated directly into the silhouette of the vehicle rather than applied as decoration, altering the surface and structure of the original body.

The work was exhibited at the Petersen Automotive Museum in Los Angeles as part of Arsham Auto Motive, alongside a series of automotive sculptures and interventions focused on material transformation and automotive form.

Arsham Studio Archive: ‘Blue Calcite Eroded Porsche 911’ (2023)

In 2023 I built this eroded Porsche 911 using fiberglass, hydrostone, quartz, selenite, and blue calcite, a naturally occurring mineral known for its pale blue tone and translucent surface quality, embedded directly into the bodywork. Developed around the shell of an air-cooled Porsche 911, sections of the exterior were removed and reconstructed through cast surfaces, carved voids, and mineral formations emerging from inside the vehicle itself.

I’ve always been drawn to the shape of these cars, not only the engineering behind them, but the visual characteristics as well. The form feels strong, but there’s also a softness to it. I’ve always loved the balance between those two things.

Compared to quartz, blue calcite carries a softer and colder appearance, which became central to this version of the sculpture. The mineral formations were integrated directly into the silhouette of the vehicle rather than applied as decoration, altering the surface and structure of the original body.

The work was exhibited at the Petersen Automotive Museum in Los Angeles as part of Arsham Auto Motive, alongside a series of automotive sculptures and interventions focused on material transformation and automotive form.

Arsham Studio Archive: ‘Blue Calcite Eroded Porsche 911’ (2023)

In 2023 I built this eroded Porsche 911 using fiberglass, hydrostone, quartz, selenite, and blue calcite, a naturally occurring mineral known for its pale blue tone and translucent surface quality, embedded directly into the bodywork. Developed around the shell of an air-cooled Porsche 911, sections of the exterior were removed and reconstructed through cast surfaces, carved voids, and mineral formations emerging from inside the vehicle itself.

I’ve always been drawn to the shape of these cars, not only the engineering behind them, but the visual characteristics as well. The form feels strong, but there’s also a softness to it. I’ve always loved the balance between those two things.

Compared to quartz, blue calcite carries a softer and colder appearance, which became central to this version of the sculpture. The mineral formations were integrated directly into the silhouette of the vehicle rather than applied as decoration, altering the surface and structure of the original body.

The work was exhibited at the Petersen Automotive Museum in Los Angeles as part of Arsham Auto Motive, alongside a series of automotive sculptures and interventions focused on material transformation and automotive form.

Arsham Studio Archive: ‘Blue Calcite Eroded Porsche 911’ (2023)

In 2023 I built this eroded Porsche 911 using fiberglass, hydrostone, quartz, selenite, and blue calcite, a naturally occurring mineral known for its pale blue tone and translucent surface quality, embedded directly into the bodywork. Developed around the shell of an air-cooled Porsche 911, sections of the exterior were removed and reconstructed through cast surfaces, carved voids, and mineral formations emerging from inside the vehicle itself.

I’ve always been drawn to the shape of these cars, not only the engineering behind them, but the visual characteristics as well. The form feels strong, but there’s also a softness to it. I’ve always loved the balance between those two things.

Compared to quartz, blue calcite carries a softer and colder appearance, which became central to this version of the sculpture. The mineral formations were integrated directly into the silhouette of the vehicle rather than applied as decoration, altering the surface and structure of the original body.

The work was exhibited at the Petersen Automotive Museum in Los Angeles as part of Arsham Auto Motive, alongside a series of automotive sculptures and interventions focused on material transformation and automotive form.

Arsham Studio Archive: ‘Blue Calcite Eroded Porsche 911’ (2023)

In 2023 I built this eroded Porsche 911 using fiberglass, hydrostone, quartz, selenite, and blue calcite, a naturally occurring mineral known for its pale blue tone and translucent surface quality, embedded directly into the bodywork. Developed around the shell of an air-cooled Porsche 911, sections of the exterior were removed and reconstructed through cast surfaces, carved voids, and mineral formations emerging from inside the vehicle itself.

I’ve always been drawn to the shape of these cars, not only the engineering behind them, but the visual characteristics as well. The form feels strong, but there’s also a softness to it. I’ve always loved the balance between those two things.

Compared to quartz, blue calcite carries a softer and colder appearance, which became central to this version of the sculpture. The mineral formations were integrated directly into the silhouette of the vehicle rather than applied as decoration, altering the surface and structure of the original body.

The work was exhibited at the Petersen Automotive Museum in Los Angeles as part of Arsham Auto Motive, alongside a series of automotive sculptures and interventions focused on material transformation and automotive form.

Arsham Studio Archive: ‘Blue Calcite Eroded Porsche 911’ (2023)

In 2023 I built this eroded Porsche 911 using fiberglass, hydrostone, quartz, selenite, and blue calcite, a naturally occurring mineral known for its pale blue tone and translucent surface quality, embedded directly into the bodywork. Developed around the shell of an air-cooled Porsche 911, sections of the exterior were removed and reconstructed through cast surfaces, carved voids, and mineral formations emerging from inside the vehicle itself.

I’ve always been drawn to the shape of these cars, not only the engineering behind them, but the visual characteristics as well. The form feels strong, but there’s also a softness to it. I’ve always loved the balance between those two things.

Compared to quartz, blue calcite carries a softer and colder appearance, which became central to this version of the sculpture. The mineral formations were integrated directly into the silhouette of the vehicle rather than applied as decoration, altering the surface and structure of the original body.

The work was exhibited at the Petersen Automotive Museum in Los Angeles as part of Arsham Auto Motive, alongside a series of automotive sculptures and interventions focused on material transformation and automotive form.

Arsham Studio Archive: ‘Blue Calcite Eroded Porsche 911’ (2023)

In 2023 I built this eroded Porsche 911 using fiberglass, hydrostone, quartz, selenite, and blue calcite, a naturally occurring mineral known for its pale blue tone and translucent surface quality, embedded directly into the bodywork. Developed around the shell of an air-cooled Porsche 911, sections of the exterior were removed and reconstructed through cast surfaces, carved voids, and mineral formations emerging from inside the vehicle itself.

I’ve always been drawn to the shape of these cars, not only the engineering behind them, but the visual characteristics as well. The form feels strong, but there’s also a softness to it. I’ve always loved the balance between those two things.

Compared to quartz, blue calcite carries a softer and colder appearance, which became central to this version of the sculpture. The mineral formations were integrated directly into the silhouette of the vehicle rather than applied as decoration, altering the surface and structure of the original body.

The work was exhibited at the Petersen Automotive Museum in Los Angeles as part of Arsham Auto Motive, alongside a series of automotive sculptures and interventions focused on material transformation and automotive form.

Arsham Studio Archive: ‘Blue Calcite Eroded Porsche 911’ (2023)

In 2023 I built this eroded Porsche 911 using fiberglass, hydrostone, quartz, selenite, and blue calcite, a naturally occurring mineral known for its pale blue tone and translucent surface quality, embedded directly into the bodywork. Developed around the shell of an air-cooled Porsche 911, sections of the exterior were removed and reconstructed through cast surfaces, carved voids, and mineral formations emerging from inside the vehicle itself.

I’ve always been drawn to the shape of these cars, not only the engineering behind them, but the visual characteristics as well. The form feels strong, but there’s also a softness to it. I’ve always loved the balance between those two things.

Compared to quartz, blue calcite carries a softer and colder appearance, which became central to this version of the sculpture. The mineral formations were integrated directly into the silhouette of the vehicle rather than applied as decoration, altering the surface and structure of the original body.

The work was exhibited at the Petersen Automotive Museum in Los Angeles as part of Arsham Auto Motive, alongside a series of automotive sculptures and interventions focused on material transformation and automotive form.

Arsham Studio Archive: ‘Blue Calcite Eroded Porsche 911’ (2023)

In 2023 I built this eroded Porsche 911 using fiberglass, hydrostone, quartz, selenite, and blue calcite, a naturally occurring mineral known for its pale blue tone and translucent surface quality, embedded directly into the bodywork. Developed around the shell of an air-cooled Porsche 911, sections of the exterior were removed and reconstructed through cast surfaces, carved voids, and mineral formations emerging from inside the vehicle itself.

I’ve always been drawn to the shape of these cars, not only the engineering behind them, but the visual characteristics as well. The form feels strong, but there’s also a softness to it. I’ve always loved the balance between those two things.

Compared to quartz, blue calcite carries a softer and colder appearance, which became central to this version of the sculpture. The mineral formations were integrated directly into the silhouette of the vehicle rather than applied as decoration, altering the surface and structure of the original body.

The work was exhibited at the Petersen Automotive Museum in Los Angeles as part of Arsham Auto Motive, alongside a series of automotive sculptures and interventions focused on material transformation and automotive form.

Arsham Studio Archive: ‘Blue Calcite Eroded Porsche 911’ (2023)

In 2023 I built this eroded Porsche 911 using fiberglass, hydrostone, quartz, selenite, and blue calcite, a naturally occurring mineral known for its pale blue tone and translucent surface quality, embedded directly into the bodywork. Developed around the shell of an air-cooled Porsche 911, sections of the exterior were removed and reconstructed through cast surfaces, carved voids, and mineral formations emerging from inside the vehicle itself.

I’ve always been drawn to the shape of these cars, not only the engineering behind them, but the visual characteristics as well. The form feels strong, but there’s also a softness to it. I’ve always loved the balance between those two things.

Compared to quartz, blue calcite carries a softer and colder appearance, which became central to this version of the sculpture. The mineral formations were integrated directly into the silhouette of the vehicle rather than applied as decoration, altering the surface and structure of the original body.

The work was exhibited at the Petersen Automotive Museum in Los Angeles as part of Arsham Auto Motive, alongside a series of automotive sculptures and interventions focused on material transformation and automotive form.

Arsham Studio Archive: ‘Blue Calcite Eroded Porsche 911’ (2023)

In 2023 I built this eroded Porsche 911 using fiberglass, hydrostone, quartz, selenite, and blue calcite, a naturally occurring mineral known for its pale blue tone and translucent surface quality, embedded directly into the bodywork. Developed around the shell of an air-cooled Porsche 911, sections of the exterior were removed and reconstructed through cast surfaces, carved voids, and mineral formations emerging from inside the vehicle itself.

I’ve always been drawn to the shape of these cars, not only the engineering behind them, but the visual characteristics as well. The form feels strong, but there’s also a softness to it. I’ve always loved the balance between those two things.

Compared to quartz, blue calcite carries a softer and colder appearance, which became central to this version of the sculpture. The mineral formations were integrated directly into the silhouette of the vehicle rather than applied as decoration, altering the surface and structure of the original body.

The work was exhibited at the Petersen Automotive Museum in Los Angeles as part of Arsham Auto Motive, alongside a series of automotive sculptures and interventions focused on material transformation and automotive form.

Arsham Studio Archive: ‘Blue Calcite Eroded Porsche 911’ (2023)

In 2023 I built this eroded Porsche 911 using fiberglass, hydrostone, quartz, selenite, and blue calcite, a naturally occurring mineral known for its pale blue tone and translucent surface quality, embedded directly into the bodywork. Developed around the shell of an air-cooled Porsche 911, sections of the exterior were removed and reconstructed through cast surfaces, carved voids, and mineral formations emerging from inside the vehicle itself.

I’ve always been drawn to the shape of these cars, not only the engineering behind them, but the visual characteristics as well. The form feels strong, but there’s also a softness to it. I’ve always loved the balance between those two things.

Compared to quartz, blue calcite carries a softer and colder appearance, which became central to this version of the sculpture. The mineral formations were integrated directly into the silhouette of the vehicle rather than applied as decoration, altering the surface and structure of the original body.

The work was exhibited at the Petersen Automotive Museum in Los Angeles as part of Arsham Auto Motive, alongside a series of automotive sculptures and interventions focused on material transformation and automotive form.

Arsham Studio Archive: ‘Arsham Droplet’ (2024)

In 2024 I created the @hublot Arsham Droplet as a reinterpretation of the pocket watch, positioned somewhere between timepiece, sculpture, and wearable artifact. Developed over three years with Hublot’s engineering team, the Droplet combines influences from streamlined industrial design, automotive forms, and organic silhouettes into a teardrop-shaped titanium case suspended from a modular chain system.

The piece houses Hublot’s manually wound Meca-10 movement, visible through sapphire crystal elements integrated throughout the case. Satin-finished titanium, rubber detailing, and transparent sapphire components allow the movement to remain partially exposed from multiple angles, while interchangeable attachments let the object shift between pocket watch, pendant, or desk piece.

The Droplet was first introduced during Dubai Watch Week before traveling internationally through a series of Hublot presentations and exhibitions. The project was accompanied by campaign films and imagery exploring the object as both horological instrument and sculptural artifact.

Arsham Studio Archive: ‘Arsham Droplet’ (2024)

In 2024 I created the @hublot Arsham Droplet as a reinterpretation of the pocket watch, positioned somewhere between timepiece, sculpture, and wearable artifact. Developed over three years with Hublot’s engineering team, the Droplet combines influences from streamlined industrial design, automotive forms, and organic silhouettes into a teardrop-shaped titanium case suspended from a modular chain system.

The piece houses Hublot’s manually wound Meca-10 movement, visible through sapphire crystal elements integrated throughout the case. Satin-finished titanium, rubber detailing, and transparent sapphire components allow the movement to remain partially exposed from multiple angles, while interchangeable attachments let the object shift between pocket watch, pendant, or desk piece.

The Droplet was first introduced during Dubai Watch Week before traveling internationally through a series of Hublot presentations and exhibitions. The project was accompanied by campaign films and imagery exploring the object as both horological instrument and sculptural artifact.

Arsham Studio Archive: ‘Arsham Droplet’ (2024)

In 2024 I created the @hublot Arsham Droplet as a reinterpretation of the pocket watch, positioned somewhere between timepiece, sculpture, and wearable artifact. Developed over three years with Hublot’s engineering team, the Droplet combines influences from streamlined industrial design, automotive forms, and organic silhouettes into a teardrop-shaped titanium case suspended from a modular chain system.

The piece houses Hublot’s manually wound Meca-10 movement, visible through sapphire crystal elements integrated throughout the case. Satin-finished titanium, rubber detailing, and transparent sapphire components allow the movement to remain partially exposed from multiple angles, while interchangeable attachments let the object shift between pocket watch, pendant, or desk piece.

The Droplet was first introduced during Dubai Watch Week before traveling internationally through a series of Hublot presentations and exhibitions. The project was accompanied by campaign films and imagery exploring the object as both horological instrument and sculptural artifact.

Arsham Studio Archive: ‘Arsham Droplet’ (2024)

In 2024 I created the @hublot Arsham Droplet as a reinterpretation of the pocket watch, positioned somewhere between timepiece, sculpture, and wearable artifact. Developed over three years with Hublot’s engineering team, the Droplet combines influences from streamlined industrial design, automotive forms, and organic silhouettes into a teardrop-shaped titanium case suspended from a modular chain system.

The piece houses Hublot’s manually wound Meca-10 movement, visible through sapphire crystal elements integrated throughout the case. Satin-finished titanium, rubber detailing, and transparent sapphire components allow the movement to remain partially exposed from multiple angles, while interchangeable attachments let the object shift between pocket watch, pendant, or desk piece.

The Droplet was first introduced during Dubai Watch Week before traveling internationally through a series of Hublot presentations and exhibitions. The project was accompanied by campaign films and imagery exploring the object as both horological instrument and sculptural artifact.

Arsham Studio Archive: ‘Arsham Droplet’ (2024)

In 2024 I created the @hublot Arsham Droplet as a reinterpretation of the pocket watch, positioned somewhere between timepiece, sculpture, and wearable artifact. Developed over three years with Hublot’s engineering team, the Droplet combines influences from streamlined industrial design, automotive forms, and organic silhouettes into a teardrop-shaped titanium case suspended from a modular chain system.

The piece houses Hublot’s manually wound Meca-10 movement, visible through sapphire crystal elements integrated throughout the case. Satin-finished titanium, rubber detailing, and transparent sapphire components allow the movement to remain partially exposed from multiple angles, while interchangeable attachments let the object shift between pocket watch, pendant, or desk piece.

The Droplet was first introduced during Dubai Watch Week before traveling internationally through a series of Hublot presentations and exhibitions. The project was accompanied by campaign films and imagery exploring the object as both horological instrument and sculptural artifact.

Arsham Studio Archive: ‘Arsham Droplet’ (2024)

In 2024 I created the @hublot Arsham Droplet as a reinterpretation of the pocket watch, positioned somewhere between timepiece, sculpture, and wearable artifact. Developed over three years with Hublot’s engineering team, the Droplet combines influences from streamlined industrial design, automotive forms, and organic silhouettes into a teardrop-shaped titanium case suspended from a modular chain system.

The piece houses Hublot’s manually wound Meca-10 movement, visible through sapphire crystal elements integrated throughout the case. Satin-finished titanium, rubber detailing, and transparent sapphire components allow the movement to remain partially exposed from multiple angles, while interchangeable attachments let the object shift between pocket watch, pendant, or desk piece.

The Droplet was first introduced during Dubai Watch Week before traveling internationally through a series of Hublot presentations and exhibitions. The project was accompanied by campaign films and imagery exploring the object as both horological instrument and sculptural artifact.

Arsham Studio Archive: ‘Arsham Droplet’ (2024)

In 2024 I created the @hublot Arsham Droplet as a reinterpretation of the pocket watch, positioned somewhere between timepiece, sculpture, and wearable artifact. Developed over three years with Hublot’s engineering team, the Droplet combines influences from streamlined industrial design, automotive forms, and organic silhouettes into a teardrop-shaped titanium case suspended from a modular chain system.

The piece houses Hublot’s manually wound Meca-10 movement, visible through sapphire crystal elements integrated throughout the case. Satin-finished titanium, rubber detailing, and transparent sapphire components allow the movement to remain partially exposed from multiple angles, while interchangeable attachments let the object shift between pocket watch, pendant, or desk piece.

The Droplet was first introduced during Dubai Watch Week before traveling internationally through a series of Hublot presentations and exhibitions. The project was accompanied by campaign films and imagery exploring the object as both horological instrument and sculptural artifact.

Arsham Studio Archive: ‘Arsham Droplet’ (2024)

In 2024 I created the @hublot Arsham Droplet as a reinterpretation of the pocket watch, positioned somewhere between timepiece, sculpture, and wearable artifact. Developed over three years with Hublot’s engineering team, the Droplet combines influences from streamlined industrial design, automotive forms, and organic silhouettes into a teardrop-shaped titanium case suspended from a modular chain system.

The piece houses Hublot’s manually wound Meca-10 movement, visible through sapphire crystal elements integrated throughout the case. Satin-finished titanium, rubber detailing, and transparent sapphire components allow the movement to remain partially exposed from multiple angles, while interchangeable attachments let the object shift between pocket watch, pendant, or desk piece.

The Droplet was first introduced during Dubai Watch Week before traveling internationally through a series of Hublot presentations and exhibitions. The project was accompanied by campaign films and imagery exploring the object as both horological instrument and sculptural artifact.

Arsham Studio Archive: ‘Arsham Droplet’ (2024)

In 2024 I created the @hublot Arsham Droplet as a reinterpretation of the pocket watch, positioned somewhere between timepiece, sculpture, and wearable artifact. Developed over three years with Hublot’s engineering team, the Droplet combines influences from streamlined industrial design, automotive forms, and organic silhouettes into a teardrop-shaped titanium case suspended from a modular chain system.

The piece houses Hublot’s manually wound Meca-10 movement, visible through sapphire crystal elements integrated throughout the case. Satin-finished titanium, rubber detailing, and transparent sapphire components allow the movement to remain partially exposed from multiple angles, while interchangeable attachments let the object shift between pocket watch, pendant, or desk piece.

The Droplet was first introduced during Dubai Watch Week before traveling internationally through a series of Hublot presentations and exhibitions. The project was accompanied by campaign films and imagery exploring the object as both horological instrument and sculptural artifact.

Arsham Studio Archive: ‘Arsham Droplet’ (2024)

In 2024 I created the @hublot Arsham Droplet as a reinterpretation of the pocket watch, positioned somewhere between timepiece, sculpture, and wearable artifact. Developed over three years with Hublot’s engineering team, the Droplet combines influences from streamlined industrial design, automotive forms, and organic silhouettes into a teardrop-shaped titanium case suspended from a modular chain system.

The piece houses Hublot’s manually wound Meca-10 movement, visible through sapphire crystal elements integrated throughout the case. Satin-finished titanium, rubber detailing, and transparent sapphire components allow the movement to remain partially exposed from multiple angles, while interchangeable attachments let the object shift between pocket watch, pendant, or desk piece.

The Droplet was first introduced during Dubai Watch Week before traveling internationally through a series of Hublot presentations and exhibitions. The project was accompanied by campaign films and imagery exploring the object as both horological instrument and sculptural artifact.

Arsham Studio Archive: ‘Arsham Droplet’ (2024)

In 2024 I created the @hublot Arsham Droplet as a reinterpretation of the pocket watch, positioned somewhere between timepiece, sculpture, and wearable artifact. Developed over three years with Hublot’s engineering team, the Droplet combines influences from streamlined industrial design, automotive forms, and organic silhouettes into a teardrop-shaped titanium case suspended from a modular chain system.

The piece houses Hublot’s manually wound Meca-10 movement, visible through sapphire crystal elements integrated throughout the case. Satin-finished titanium, rubber detailing, and transparent sapphire components allow the movement to remain partially exposed from multiple angles, while interchangeable attachments let the object shift between pocket watch, pendant, or desk piece.

The Droplet was first introduced during Dubai Watch Week before traveling internationally through a series of Hublot presentations and exhibitions. The project was accompanied by campaign films and imagery exploring the object as both horological instrument and sculptural artifact.

Arsham Studio Archive: ‘Arsham Droplet’ (2024)

In 2024 I created the @hublot Arsham Droplet as a reinterpretation of the pocket watch, positioned somewhere between timepiece, sculpture, and wearable artifact. Developed over three years with Hublot’s engineering team, the Droplet combines influences from streamlined industrial design, automotive forms, and organic silhouettes into a teardrop-shaped titanium case suspended from a modular chain system.

The piece houses Hublot’s manually wound Meca-10 movement, visible through sapphire crystal elements integrated throughout the case. Satin-finished titanium, rubber detailing, and transparent sapphire components allow the movement to remain partially exposed from multiple angles, while interchangeable attachments let the object shift between pocket watch, pendant, or desk piece.

The Droplet was first introduced during Dubai Watch Week before traveling internationally through a series of Hublot presentations and exhibitions. The project was accompanied by campaign films and imagery exploring the object as both horological instrument and sculptural artifact.

Arsham Studio Archive: ‘Arsham Droplet’ (2024)

In 2024 I created the @hublot Arsham Droplet as a reinterpretation of the pocket watch, positioned somewhere between timepiece, sculpture, and wearable artifact. Developed over three years with Hublot’s engineering team, the Droplet combines influences from streamlined industrial design, automotive forms, and organic silhouettes into a teardrop-shaped titanium case suspended from a modular chain system.

The piece houses Hublot’s manually wound Meca-10 movement, visible through sapphire crystal elements integrated throughout the case. Satin-finished titanium, rubber detailing, and transparent sapphire components allow the movement to remain partially exposed from multiple angles, while interchangeable attachments let the object shift between pocket watch, pendant, or desk piece.

The Droplet was first introduced during Dubai Watch Week before traveling internationally through a series of Hublot presentations and exhibitions. The project was accompanied by campaign films and imagery exploring the object as both horological instrument and sculptural artifact.

Arsham Studio Archive: ‘Arsham Droplet’ (2024)

In 2024 I created the @hublot Arsham Droplet as a reinterpretation of the pocket watch, positioned somewhere between timepiece, sculpture, and wearable artifact. Developed over three years with Hublot’s engineering team, the Droplet combines influences from streamlined industrial design, automotive forms, and organic silhouettes into a teardrop-shaped titanium case suspended from a modular chain system.

The piece houses Hublot’s manually wound Meca-10 movement, visible through sapphire crystal elements integrated throughout the case. Satin-finished titanium, rubber detailing, and transparent sapphire components allow the movement to remain partially exposed from multiple angles, while interchangeable attachments let the object shift between pocket watch, pendant, or desk piece.

The Droplet was first introduced during Dubai Watch Week before traveling internationally through a series of Hublot presentations and exhibitions. The project was accompanied by campaign films and imagery exploring the object as both horological instrument and sculptural artifact.

Arsham Studio Archive: ‘Arsham Droplet’ (2024)

In 2024 I created the @hublot Arsham Droplet as a reinterpretation of the pocket watch, positioned somewhere between timepiece, sculpture, and wearable artifact. Developed over three years with Hublot’s engineering team, the Droplet combines influences from streamlined industrial design, automotive forms, and organic silhouettes into a teardrop-shaped titanium case suspended from a modular chain system.

The piece houses Hublot’s manually wound Meca-10 movement, visible through sapphire crystal elements integrated throughout the case. Satin-finished titanium, rubber detailing, and transparent sapphire components allow the movement to remain partially exposed from multiple angles, while interchangeable attachments let the object shift between pocket watch, pendant, or desk piece.

The Droplet was first introduced during Dubai Watch Week before traveling internationally through a series of Hublot presentations and exhibitions. The project was accompanied by campaign films and imagery exploring the object as both horological instrument and sculptural artifact.

Arsham Studio Archive: ‘Arsham Droplet’ (2024)

In 2024 I created the @hublot Arsham Droplet as a reinterpretation of the pocket watch, positioned somewhere between timepiece, sculpture, and wearable artifact. Developed over three years with Hublot’s engineering team, the Droplet combines influences from streamlined industrial design, automotive forms, and organic silhouettes into a teardrop-shaped titanium case suspended from a modular chain system.

The piece houses Hublot’s manually wound Meca-10 movement, visible through sapphire crystal elements integrated throughout the case. Satin-finished titanium, rubber detailing, and transparent sapphire components allow the movement to remain partially exposed from multiple angles, while interchangeable attachments let the object shift between pocket watch, pendant, or desk piece.

The Droplet was first introduced during Dubai Watch Week before traveling internationally through a series of Hublot presentations and exhibitions. The project was accompanied by campaign films and imagery exploring the object as both horological instrument and sculptural artifact.

Arsham Studio Archive: ‘Arsham Droplet’ (2024)

In 2024 I created the @hublot Arsham Droplet as a reinterpretation of the pocket watch, positioned somewhere between timepiece, sculpture, and wearable artifact. Developed over three years with Hublot’s engineering team, the Droplet combines influences from streamlined industrial design, automotive forms, and organic silhouettes into a teardrop-shaped titanium case suspended from a modular chain system.

The piece houses Hublot’s manually wound Meca-10 movement, visible through sapphire crystal elements integrated throughout the case. Satin-finished titanium, rubber detailing, and transparent sapphire components allow the movement to remain partially exposed from multiple angles, while interchangeable attachments let the object shift between pocket watch, pendant, or desk piece.

The Droplet was first introduced during Dubai Watch Week before traveling internationally through a series of Hublot presentations and exhibitions. The project was accompanied by campaign films and imagery exploring the object as both horological instrument and sculptural artifact.

Arsham Studio Archive: ‘Arsham Droplet’ (2024)

In 2024 I created the @hublot Arsham Droplet as a reinterpretation of the pocket watch, positioned somewhere between timepiece, sculpture, and wearable artifact. Developed over three years with Hublot’s engineering team, the Droplet combines influences from streamlined industrial design, automotive forms, and organic silhouettes into a teardrop-shaped titanium case suspended from a modular chain system.

The piece houses Hublot’s manually wound Meca-10 movement, visible through sapphire crystal elements integrated throughout the case. Satin-finished titanium, rubber detailing, and transparent sapphire components allow the movement to remain partially exposed from multiple angles, while interchangeable attachments let the object shift between pocket watch, pendant, or desk piece.

The Droplet was first introduced during Dubai Watch Week before traveling internationally through a series of Hublot presentations and exhibitions. The project was accompanied by campaign films and imagery exploring the object as both horological instrument and sculptural artifact.

Arsham Studio Archive: ‘Arsham Droplet’ (2024)

In 2024 I created the @hublot Arsham Droplet as a reinterpretation of the pocket watch, positioned somewhere between timepiece, sculpture, and wearable artifact. Developed over three years with Hublot’s engineering team, the Droplet combines influences from streamlined industrial design, automotive forms, and organic silhouettes into a teardrop-shaped titanium case suspended from a modular chain system.

The piece houses Hublot’s manually wound Meca-10 movement, visible through sapphire crystal elements integrated throughout the case. Satin-finished titanium, rubber detailing, and transparent sapphire components allow the movement to remain partially exposed from multiple angles, while interchangeable attachments let the object shift between pocket watch, pendant, or desk piece.

The Droplet was first introduced during Dubai Watch Week before traveling internationally through a series of Hublot presentations and exhibitions. The project was accompanied by campaign films and imagery exploring the object as both horological instrument and sculptural artifact.

Arsham Studio Archive: ‘Arsham Droplet’ (2024)

In 2024 I created the @hublot Arsham Droplet as a reinterpretation of the pocket watch, positioned somewhere between timepiece, sculpture, and wearable artifact. Developed over three years with Hublot’s engineering team, the Droplet combines influences from streamlined industrial design, automotive forms, and organic silhouettes into a teardrop-shaped titanium case suspended from a modular chain system.

The piece houses Hublot’s manually wound Meca-10 movement, visible through sapphire crystal elements integrated throughout the case. Satin-finished titanium, rubber detailing, and transparent sapphire components allow the movement to remain partially exposed from multiple angles, while interchangeable attachments let the object shift between pocket watch, pendant, or desk piece.

The Droplet was first introduced during Dubai Watch Week before traveling internationally through a series of Hublot presentations and exhibitions. The project was accompanied by campaign films and imagery exploring the object as both horological instrument and sculptural artifact.

Releasing today at 12 noon ET. Only 18 Editions available. Please visit the website at the link in my bio.

You don’t need my permission to get a tattoo of something I made 🙇🏻 Send me some photos! ✍🏼

You don’t need my permission to get a tattoo of something I made 🙇🏻 Send me some photos! ✍🏼

You don’t need my permission to get a tattoo of something I made 🙇🏻 Send me some photos! ✍🏼

You don’t need my permission to get a tattoo of something I made 🙇🏻 Send me some photos! ✍🏼

You don’t need my permission to get a tattoo of something I made 🙇🏻 Send me some photos! ✍🏼

You don’t need my permission to get a tattoo of something I made 🙇🏻 Send me some photos! ✍🏼

You don’t need my permission to get a tattoo of something I made 🙇🏻 Send me some photos! ✍🏼

You don’t need my permission to get a tattoo of something I made 🙇🏻 Send me some photos! ✍🏼

You don’t need my permission to get a tattoo of something I made 🙇🏻 Send me some photos! ✍🏼

You don’t need my permission to get a tattoo of something I made 🙇🏻 Send me some photos! ✍🏼

You don’t need my permission to get a tattoo of something I made 🙇🏻 Send me some photos! ✍🏼

You don’t need my permission to get a tattoo of something I made 🙇🏻 Send me some photos! ✍🏼

You don’t need my permission to get a tattoo of something I made 🙇🏻 Send me some photos! ✍🏼

You don’t need my permission to get a tattoo of something I made 🙇🏻 Send me some photos! ✍🏼

You don’t need my permission to get a tattoo of something I made 🙇🏻 Send me some photos! ✍🏼

You don’t need my permission to get a tattoo of something I made 🙇🏻 Send me some photos! ✍🏼

You don’t need my permission to get a tattoo of something I made 🙇🏻 Send me some photos! ✍🏼

You don’t need my permission to get a tattoo of something I made 🙇🏻 Send me some photos! ✍🏼

You don’t need my permission to get a tattoo of something I made 🙇🏻 Send me some photos! ✍🏼

You don’t need my permission to get a tattoo of something I made 🙇🏻 Send me some photos! ✍🏼

The Balvenie invites creative visionary @DanielArsham, in partnership with our esteemed Malt Master Kelsey McKechnie, into a landmark collaboration.

Together, they explore time as a shared language. Daniel’s work considers time through material, transformation and form, while Kelsey shapes it through flavour - guiding the character of our whisky with instinct, precision and a deep understanding of craft.

Rooted in a shared respect for process, artistry and human endeavour, this collaboration marks a new chapter for The Balvenie.

Bringing together two disciplines in equal regard, it begins an exploration that will unfold across whisky, design and immersive experiences later this year.

The Balvenie invites creative visionary @DanielArsham, in partnership with our esteemed Malt Master Kelsey McKechnie, into a landmark collaboration.

Together, they explore time as a shared language. Daniel’s work considers time through material, transformation and form, while Kelsey shapes it through flavour - guiding the character of our whisky with instinct, precision and a deep understanding of craft.

Rooted in a shared respect for process, artistry and human endeavour, this collaboration marks a new chapter for The Balvenie.

Bringing together two disciplines in equal regard, it begins an exploration that will unfold across whisky, design and immersive experiences later this year.

Releasing this Friday at 12 noon Eastern time.

The Venus Twins Necklace exists between two timelines. One half rendered in polished white gold, impossibly precise and reflective. The other cast in patinated bronze, carrying the surface of oxidation and erosion. A clean fracture divides object from artifact, contemporary from ancient.

The chain becomes part of the sculpture itself, composed of miniature white gold hands that suspend the pendant like a constructed relic assembled across eras. Produced as a limited edition of only 18 pieces, each work arrives in a custom wood and suede-lined box designed to live beyond the unveiling as part of the piece itself.

Official drop: May 15 at 12PM ET.

Visit my website now to sign up for more information in advance of the release. Link in bio

Releasing this Friday at 12 noon Eastern time.

The Venus Twins Necklace exists between two timelines. One half rendered in polished white gold, impossibly precise and reflective. The other cast in patinated bronze, carrying the surface of oxidation and erosion. A clean fracture divides object from artifact, contemporary from ancient.

The chain becomes part of the sculpture itself, composed of miniature white gold hands that suspend the pendant like a constructed relic assembled across eras. Produced as a limited edition of only 18 pieces, each work arrives in a custom wood and suede-lined box designed to live beyond the unveiling as part of the piece itself.

Official drop: May 15 at 12PM ET.

Visit my website now to sign up for more information in advance of the release. Link in bio

Releasing this Friday at 12 noon Eastern time.

The Venus Twins Necklace exists between two timelines. One half rendered in polished white gold, impossibly precise and reflective. The other cast in patinated bronze, carrying the surface of oxidation and erosion. A clean fracture divides object from artifact, contemporary from ancient.

The chain becomes part of the sculpture itself, composed of miniature white gold hands that suspend the pendant like a constructed relic assembled across eras. Produced as a limited edition of only 18 pieces, each work arrives in a custom wood and suede-lined box designed to live beyond the unveiling as part of the piece itself.

Official drop: May 15 at 12PM ET.

Visit my website now to sign up for more information in advance of the release. Link in bio

Releasing this Friday at 12 noon Eastern time.

The Venus Twins Necklace exists between two timelines. One half rendered in polished white gold, impossibly precise and reflective. The other cast in patinated bronze, carrying the surface of oxidation and erosion. A clean fracture divides object from artifact, contemporary from ancient.

The chain becomes part of the sculpture itself, composed of miniature white gold hands that suspend the pendant like a constructed relic assembled across eras. Produced as a limited edition of only 18 pieces, each work arrives in a custom wood and suede-lined box designed to live beyond the unveiling as part of the piece itself.

Official drop: May 15 at 12PM ET.

Visit my website now to sign up for more information in advance of the release. Link in bio

Releasing this Friday at 12 noon Eastern time.

The Venus Twins Necklace exists between two timelines. One half rendered in polished white gold, impossibly precise and reflective. The other cast in patinated bronze, carrying the surface of oxidation and erosion. A clean fracture divides object from artifact, contemporary from ancient.

The chain becomes part of the sculpture itself, composed of miniature white gold hands that suspend the pendant like a constructed relic assembled across eras. Produced as a limited edition of only 18 pieces, each work arrives in a custom wood and suede-lined box designed to live beyond the unveiling as part of the piece itself.

Official drop: May 15 at 12PM ET.

Visit my website now to sign up for more information in advance of the release. Link in bio

Releasing this Friday at 12 noon Eastern time.

The Venus Twins Necklace exists between two timelines. One half rendered in polished white gold, impossibly precise and reflective. The other cast in patinated bronze, carrying the surface of oxidation and erosion. A clean fracture divides object from artifact, contemporary from ancient.

The chain becomes part of the sculpture itself, composed of miniature white gold hands that suspend the pendant like a constructed relic assembled across eras. Produced as a limited edition of only 18 pieces, each work arrives in a custom wood and suede-lined box designed to live beyond the unveiling as part of the piece itself.

Official drop: May 15 at 12PM ET.

Visit my website now to sign up for more information in advance of the release. Link in bio

Arsham Studio Archive: ‘Porsche 911 RWBA’ (2023)

Back in 2023, I collaborated with Akira Nakai and @rwb_official on a one-off Porsche 911 RWBA, the first and only slantnose RWB ever built on a 964-generation 911. After completing the car at RWB headquarters in Chiba, we brought it into Tokyo and photographed it through the streets of Akihabara at night, drawing from the atmosphere and visual language surrounding Japanese street racing culture, manga, and the city itself.

Arsham Studio Archive: ‘Porsche 911 RWBA’ (2023)

Back in 2023, I collaborated with Akira Nakai and @rwb_official on a one-off Porsche 911 RWBA, the first and only slantnose RWB ever built on a 964-generation 911. After completing the car at RWB headquarters in Chiba, we brought it into Tokyo and photographed it through the streets of Akihabara at night, drawing from the atmosphere and visual language surrounding Japanese street racing culture, manga, and the city itself.

Arsham Studio Archive: ‘Porsche 911 RWBA’ (2023)

Back in 2023, I collaborated with Akira Nakai and @rwb_official on a one-off Porsche 911 RWBA, the first and only slantnose RWB ever built on a 964-generation 911. After completing the car at RWB headquarters in Chiba, we brought it into Tokyo and photographed it through the streets of Akihabara at night, drawing from the atmosphere and visual language surrounding Japanese street racing culture, manga, and the city itself.

Arsham Studio Archive: ‘Porsche 911 RWBA’ (2023)

Back in 2023, I collaborated with Akira Nakai and @rwb_official on a one-off Porsche 911 RWBA, the first and only slantnose RWB ever built on a 964-generation 911. After completing the car at RWB headquarters in Chiba, we brought it into Tokyo and photographed it through the streets of Akihabara at night, drawing from the atmosphere and visual language surrounding Japanese street racing culture, manga, and the city itself.

Arsham Studio Archive: ‘Porsche 911 RWBA’ (2023)

Back in 2023, I collaborated with Akira Nakai and @rwb_official on a one-off Porsche 911 RWBA, the first and only slantnose RWB ever built on a 964-generation 911. After completing the car at RWB headquarters in Chiba, we brought it into Tokyo and photographed it through the streets of Akihabara at night, drawing from the atmosphere and visual language surrounding Japanese street racing culture, manga, and the city itself.

Arsham Studio Archive: ‘Porsche 911 RWBA’ (2023)

Back in 2023, I collaborated with Akira Nakai and @rwb_official on a one-off Porsche 911 RWBA, the first and only slantnose RWB ever built on a 964-generation 911. After completing the car at RWB headquarters in Chiba, we brought it into Tokyo and photographed it through the streets of Akihabara at night, drawing from the atmosphere and visual language surrounding Japanese street racing culture, manga, and the city itself.

Arsham Studio Archive: ‘Porsche 911 RWBA’ (2023)

Back in 2023, I collaborated with Akira Nakai and @rwb_official on a one-off Porsche 911 RWBA, the first and only slantnose RWB ever built on a 964-generation 911. After completing the car at RWB headquarters in Chiba, we brought it into Tokyo and photographed it through the streets of Akihabara at night, drawing from the atmosphere and visual language surrounding Japanese street racing culture, manga, and the city itself.

Arsham Studio Archive: ‘Porsche 911 RWBA’ (2023)

Back in 2023, I collaborated with Akira Nakai and @rwb_official on a one-off Porsche 911 RWBA, the first and only slantnose RWB ever built on a 964-generation 911. After completing the car at RWB headquarters in Chiba, we brought it into Tokyo and photographed it through the streets of Akihabara at night, drawing from the atmosphere and visual language surrounding Japanese street racing culture, manga, and the city itself.

Arsham Studio Archive: ‘Porsche 911 RWBA’ (2023)

Back in 2023, I collaborated with Akira Nakai and @rwb_official on a one-off Porsche 911 RWBA, the first and only slantnose RWB ever built on a 964-generation 911. After completing the car at RWB headquarters in Chiba, we brought it into Tokyo and photographed it through the streets of Akihabara at night, drawing from the atmosphere and visual language surrounding Japanese street racing culture, manga, and the city itself.

At some point, you have to stop thinking about it and actually do it…

This is a note from my mentor.

I’ve been archiving his advice for years.
I reveal who he is in my book.

Available now via the link in my bio.

At some point, you have to stop thinking about it and actually do it…

This is a note from my mentor.

I’ve been archiving his advice for years.
I reveal who he is in my book.

Available now via the link in my bio.

At some point, you have to stop thinking about it and actually do it…

This is a note from my mentor.

I’ve been archiving his advice for years.
I reveal who he is in my book.

Available now via the link in my bio.

At some point, you have to stop thinking about it and actually do it…

This is a note from my mentor.

I’ve been archiving his advice for years.
I reveal who he is in my book.

Available now via the link in my bio.

I’m finishing the last drawings for my exhibition, which opens in London next month @perrotin / back at my favorite studio. 🏎️💨

I’m finishing the last drawings for my exhibition, which opens in London next month @perrotin / back at my favorite studio. 🏎️💨

I’m finishing the last drawings for my exhibition, which opens in London next month @perrotin / back at my favorite studio. 🏎️💨

I’m finishing the last drawings for my exhibition, which opens in London next month @perrotin / back at my favorite studio. 🏎️💨

I’m finishing the last drawings for my exhibition, which opens in London next month @perrotin / back at my favorite studio. 🏎️💨

I’m finishing the last drawings for my exhibition, which opens in London next month @perrotin / back at my favorite studio. 🏎️💨

I’m finishing the last drawings for my exhibition, which opens in London next month @perrotin / back at my favorite studio. 🏎️💨

I’m finishing the last drawings for my exhibition, which opens in London next month @perrotin / back at my favorite studio. 🏎️💨

I’m finishing the last drawings for my exhibition, which opens in London next month @perrotin / back at my favorite studio. 🏎️💨

I’m finishing the last drawings for my exhibition, which opens in London next month @perrotin / back at my favorite studio. 🏎️💨

Arsham Studio Archive: ‘Solid Platinum Key for 930A’ (2020)

In 2020, I developed a custom key as part of the 930A project, a complete reworking of a 1986 Porsche 911 Turbo. The intention was to extend the language of the car into every object connected to it, including the key itself.

Produced with @eyefunny_official in Japan, the piece was cast in solid platinum (PT950) and treated with an eroded surface, aligning it with the material vocabulary of the car. The original Porsche wordmark was replaced with “ARSHAM,” shifting the object from a standard component into something more personal and specific to the project.

The key functions as both a tool and an artifact, scaled down but consistent with the larger ideas of permanence, material weight, and the notion of future relics that run through the 930A project.

Arsham Studio Archive: ‘Solid Platinum Key for 930A’ (2020)

In 2020, I developed a custom key as part of the 930A project, a complete reworking of a 1986 Porsche 911 Turbo. The intention was to extend the language of the car into every object connected to it, including the key itself.

Produced with @eyefunny_official in Japan, the piece was cast in solid platinum (PT950) and treated with an eroded surface, aligning it with the material vocabulary of the car. The original Porsche wordmark was replaced with “ARSHAM,” shifting the object from a standard component into something more personal and specific to the project.

The key functions as both a tool and an artifact, scaled down but consistent with the larger ideas of permanence, material weight, and the notion of future relics that run through the 930A project.

Arsham Studio Archive: ‘Solid Platinum Key for 930A’ (2020)

In 2020, I developed a custom key as part of the 930A project, a complete reworking of a 1986 Porsche 911 Turbo. The intention was to extend the language of the car into every object connected to it, including the key itself.

Produced with @eyefunny_official in Japan, the piece was cast in solid platinum (PT950) and treated with an eroded surface, aligning it with the material vocabulary of the car. The original Porsche wordmark was replaced with “ARSHAM,” shifting the object from a standard component into something more personal and specific to the project.

The key functions as both a tool and an artifact, scaled down but consistent with the larger ideas of permanence, material weight, and the notion of future relics that run through the 930A project.

Arsham Studio Archive: ‘Solid Platinum Key for 930A’ (2020)

In 2020, I developed a custom key as part of the 930A project, a complete reworking of a 1986 Porsche 911 Turbo. The intention was to extend the language of the car into every object connected to it, including the key itself.

Produced with @eyefunny_official in Japan, the piece was cast in solid platinum (PT950) and treated with an eroded surface, aligning it with the material vocabulary of the car. The original Porsche wordmark was replaced with “ARSHAM,” shifting the object from a standard component into something more personal and specific to the project.

The key functions as both a tool and an artifact, scaled down but consistent with the larger ideas of permanence, material weight, and the notion of future relics that run through the 930A project.

Arsham Studio Archive: ‘Solid Platinum Key for 930A’ (2020)

In 2020, I developed a custom key as part of the 930A project, a complete reworking of a 1986 Porsche 911 Turbo. The intention was to extend the language of the car into every object connected to it, including the key itself.

Produced with @eyefunny_official in Japan, the piece was cast in solid platinum (PT950) and treated with an eroded surface, aligning it with the material vocabulary of the car. The original Porsche wordmark was replaced with “ARSHAM,” shifting the object from a standard component into something more personal and specific to the project.

The key functions as both a tool and an artifact, scaled down but consistent with the larger ideas of permanence, material weight, and the notion of future relics that run through the 930A project.

Arsham Studio Archive: ‘Solid Platinum Key for 930A’ (2020)

In 2020, I developed a custom key as part of the 930A project, a complete reworking of a 1986 Porsche 911 Turbo. The intention was to extend the language of the car into every object connected to it, including the key itself.

Produced with @eyefunny_official in Japan, the piece was cast in solid platinum (PT950) and treated with an eroded surface, aligning it with the material vocabulary of the car. The original Porsche wordmark was replaced with “ARSHAM,” shifting the object from a standard component into something more personal and specific to the project.

The key functions as both a tool and an artifact, scaled down but consistent with the larger ideas of permanence, material weight, and the notion of future relics that run through the 930A project.