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@richaybar is a Dominican-American sculptor and furniture designer. After working at Hood by Air, he founded @r.a.workshop in 2019.

Known for his iconic use of rubber, Aybar’s work fuses subversive design language with wit and playfulness. His sculptural furniture transforms everyday objects into tactile, provocative forms that invite both curiosity and interaction.

Swipe to discover the collection, now available at STUDIO-IRON.COM

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NIGHTBLOCKS — WALKS I–VIII
translucent polyurethane rubber and lighting components. Deposit, NY — March 2025

This series reflects on the emotional function of nightlights: objects used to negotiate darkness — often in childhood, here made obstructive and monumental.

Eight one-of-one nightlights, each cast individually around a functioning plug unit.

Each work is titled as a WALK — a low continuous light for moving through darkness.

The four proportions follow a halving logic; each size a compression of the last.

Cast by hand, one at a time. No two resolve the same way inside.

Light is not emitted from a point but held within mass. What reaches you has traveled through rubber — diffused, slowed, and altered in the process.

@thefutureperfect @duddhaus

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We rising!
Thank you @elledecor — truly honored to be included.
Special thanks to @cristobalita and @elk_elisa ✨

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Idiorhythms by @cour_space in Antwerp.
On view @richaybar @grrraceatkinson @lewiskemmenoe @noir_metal @r.a.workshop

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A table is not just a surface—it’s an instrument.

MENSA functions as infrastructure: a calibrated field where light, weight, and exchange are held in tension. Rubber becomes the medium through which ritual is structured.

Thank you @converse, @converse_europe, @flashartvolumes for realizing this in Milan.

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Rich Aybar, BLISTER vessel, 2025.
Last weeks to see Idiorhythms, on view trough April 19, 2026,

Rich Aybar
BLISTER Vessel (Unique)
2025
Cast polyurethane rubber
W 120 x D 120 x H 520 mm

Kindly email contact @courgallery.com for all inquiries

Photos: @ange_jules @eliasasselbergh

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SCRAPE Pendant by Rich Aybar

2026
Cast translucent polyurethane rubber, integrated LED, rusted steel chain.
Each element: approx. H 100 cm × Ø 12 cm. Drop: adjustable 200–300 cm.

A suspended dual-form light sculpture in which two illuminated rubber volumes counterweight one another as a single kinetic system.

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Richard Aybar is a New York–born sculptor and collectible design artist of Dominican heritage and the founder of RAWORKSHOP. His work centres on rubber — most often polyurethane, a petroleum-derived material — through which he develops sculptural furniture, lighting, and vessels whose forms oscillate between utilitarian object and contemporary artifact.
Aybar’s practice explores the cultural and geological memory embedded in synthetic materials, particularly rubber and its long material history across the Americas. His luminous rubber forms and architectural furnishings transform industrial substances into objects that reflect on cycles of extraction, transformation, and endurance.

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SCRAPE operates between sculpture, light, and mechanical equilibrium. Two illuminated forms function as a single suspended system: their balance defines the piece. Each segment — a knuckle — stacks to form an elongated, luminous body whose counterbalanced configuration references architectural load systems and kinetic sculpture traditions. Light activates the rubber from within rather than simply illuminating space; the material shifts between object, body, and instrument depending on the viewer’s position. Natural variation in tone and translucency across the hand-cast segments is inherent to the work.

Kindly email contact@courgallery.com for inquiries

Photos by @eliasasselbergh
Last one by @ange_jules

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IDIORHYTHMS
Trough April 19, 2026 COUR Groenplaats 42, 2000 Antwerp, Belgium 1st Floor _____________________________________
The exhibition Idiorhythms assembles four artistic practices whose core could be described as ‘elemental’. Each leverages the unique properties of a chosen material to achieve a kind of tactile virtuosity. Each also eschews industrial production in favour of artistic autonomy and skill, the bedrock of a highly individual style.
The term ‘idiorrhythmia’ originally referred to a ‘self-regulated’ form of monastic life, in which monks lived side by side but followed their own internal schedules in work and worship. In places like Mount Athos, where idiorrhythmic monasticism endures, the texture of monastic life is thus neither communal nor entirely solitary. It is a fantasy of coexistence without synchronisation, of living together apart (à la Roland Barthes).
In the realm of artistic production, rhythm has a trifold meaning: it could say something about the personal routines, rituals, and research methods accumulated throughout an artist’s career; it could indicate a frequency or mode of engagement with the commercial circuit, a certain relationship to showing work, between poles of exposure and productive silence; or it could bear on the material itself – the bulk and grain of wood planks in dynamic juxtaposition, fur patterns hand-stitched onto cloth, the waning translucence of urethane rubber, the chilled lustre of black steel.
The exhibition does not calibrate or harness these rhythmic signatures. It draws attention to the luxuriant tone of their entanglement and resonance, and to the straightforward poetry of the objects that convey them.  _____________________________________
WITH WORKS BY:
Rich Aybar, Grace Atkinson, Lewis Kemmenoe, Noir Métal

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SCRAPE 2026
Balance as structure.
Light as force.
A suspended system, on the edge of motion. Photos by @ange_jules

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IDIORHYTHMS
Trough April 19, 2026 COUR Groenplaats 42, 2000 Antwerp, Belgium 1st Floor _____________________________________
The exhibition Idiorhythms assembles four artistic practices whose core could be described as ‘elemental’. Each leverages the unique properties of a chosen material to achieve a kind of tactile virtuosity. Each also eschews industrial production in favour of artistic autonomy and skill, the bedrock of a highly individual style.
The term ‘idiorrhythmia’ originally referred to a ‘self-regulated’ form of monastic life, in which monks lived side by side but followed their own internal schedules in work and worship. In places like Mount Athos, where idiorrhythmic monasticism endures, the texture of monastic life is thus neither communal nor entirely solitary. It is a fantasy of coexistence without synchronisation, of living together apart (à la Roland Barthes).
In the realm of artistic production, rhythm has a trifold meaning: it could say something about the personal routines, rituals, and research methods accumulated throughout an artist’s career; it could indicate a frequency or mode of engagement with the commercial circuit, a certain relationship to showing work, between poles of exposure and productive silence; or it could bear on the material itself – the bulk and grain of wood planks in dynamic juxtaposition, fur patterns hand-stitched onto cloth, the waning translucence of urethane rubber, the chilled lustre of black steel.
The exhibition does not calibrate or harness these rhythmic signatures. It draws attention to the luxuriant tone of their entanglement and resonance, and to the straightforward poetry of the objects that convey them.  _____________________________________
WITH WORKS BY:
Rich Aybar, Grace Atkinson, Lewis Kemmenoe photo by @ange_jules

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Still twirling post-Show : Room launch, thank you @pocketbookhudson @showroom.hudson @freaksny @sltdcrml for cultivating such a resplendent array of partners.

#madebyhand #collectibledesign #functionalsculpture #handblownglass #brutalism #womenindesign

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Come join us at Design Miami, Booth G14, today and tomorrow!

“Since April 2025, Delvis (Un)Limited Gallery has repositioned itself as a space for exploring contemporary living. Its inaugural exhibition at Milan Design Week invited designers to inhabit a home they had designed themselves, turning lived experience into a form of research. This inquiry continues in Miami, where questions about living with collectible design and the dynamics of shared domesticity are further examined. At Design Miami, only the living area of the original house will be reconstructed, presenting the Milan pieces in new configurations shaped by the dialogues and insights that emerged during their time together.”

The show is curated by @valentinaciuffi. Creative direction is by @studiovedet, with exhibition design by @spacecaviar.

@designmiami
December 3-7, 2025
Convention Center Drive and 19th Street
Miami Beach, Florida
Booth G14

Visiting hours
Wednesday Dec 3: 1pm-7pm
Thursday Dec 4 – Saturday Dec 6: 11am-7pm
Sunday Dec 7: 11am-6pm

Featuring:
@laurids.gallee
@objects_of_common_interest
@lindefreya_tangelder
@richaybar
@derekcastiglioni
@niki__danai
@stefanodelvis
@diaphan_studio
@jirah.joshua
@panorammma_
@steaci
@zihan_zhao_

Ph: @piergiorgiosorgetti

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