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Based in New York City, Elisa Carlucci has been the creative talent behind some of the countries most important brands for over 20 years. From sterling objects for Tiffany & Company to minimalist dinnerware for Calvin Klein to home furnishings at Pottery Barn and Target, Elisa established herself in the product world and then brought her talents to private clientele. After spending seven years creating to-the-trade and custom furniture, lighting, textiles and rugs for one the countries top interior designers, Elisa opened her own design studio in 2012. In 2014 Elisa collaborated on an extraordinary project, creating over 90 pieces of bespoke furniture for a single home, and in 2015 collaborated with Los Angeles based Quintus to relaunch the brand. In March 2016 Quintus launched a collection of Elisa’s furniture at West Week. She consults and designs for luxury brands and interior designers throughout the country.

Elisa received her Bachelor of Arts in Illustration from Parsons School of Design in New York in 1996 and is a strong believer that great visual communication is the key to all successful design projects. 

The beauty of form is the central theme in my work. An appreciation for the beauty and purity of balance is inherent in my art.  My sculptures of single forms explore how a shape exists in a space and how it interacts with the light and shadows in that space; other sculptures examine how multiple shapes interact with each other, converging on or coming from a single point to create their own miniature universe. All of my work examines the balance between organic and geometric elements.   

Although my art evokes elements of architecture, design and landscape, my sculptures are more archetypal in nature and represent an appreciation of natural shapes. There’s an organic quality to my work that’s evident in the curved, smooth textures of my sculptures, reminiscent of bone or stone. But I’m much more interested in light and shadow than in texture, and I tend to create objects in white or a single color because of their facility with manipulating light. I began sculpting in plaster both because of its matte quality, which works well with light and shadow, and also because of its soft, pliable nature which makes it easy to carve.  My work has since evolved into sculpting with wire, bronze castings, as well as drawing as a way to explore new methods of creating volume and mass using reflective surfaces, line, and color.

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