Excerpt from Deon Rubi: The profoundity of ProcessBy Monica Uszerowicz"To view Deon Rubi’s work is to see, and then feel, subtle micro-movements: copper coils seem to slowly unfurl, shards of glass ripple like water and then, you imagine, your fingers outline hunks of brass and bejeweled geometric shapes, tracing their simultaneous weight and fragility.To view it is to intrinsically understand what it might feel like. For all their stillness, Rubi’s designs are physical and tactile—whether you’re touching them or not.
Perhaps this is a result of their creation: existing at a cross-section between design, sculpture, interior design, and wearable art, Rubi’s pieces are the result of hunting through construction sights and scrap yards, of blowing glass through copper wire to create unusual shapes—palpable physicality—and, all the while, examining each mistake and moment of clarity through the lens of someone who studied production design. In other words: real play and touch is significant, but it’s all contextualized through a rather distant scope.
Deon Rubi, born Lucila Garcia de Onrubia (look again at the last half of her name—Deon Rubi was a yearbook’s typo), moved from Buenos Aires, Argentina, to Miami as a child, spending afternoons crafting ceramics and flower designs with her mother. After creating a line of jewelry—all of which seem to be retrieved from within the earth itself and then refined by a delicate hand—Rubi debuted a collection of objects that are as functional as they are soothing to the eye, all hefty, chunky metals and sweet pastels: vases, lamps, jars, maybe-candle holders, mirrors in which the reflection is unclear. [...] "