Interviews met Sebastián Ángeles

I have always been fascinated by the invisible power of sound and vibration. Frequency was born from my interest in understanding how something intangible can deeply affect our emotions, our body and even our perception of space.

The collection explores the relationship between sound frequencies, cymatics and physical form. I became interested in how vibration can generate patterns and geometries in matter, and how those invisible forces could be translated into sculptural furniture and objects.

More than creating functional pieces, I wanted to create objects that feel emotional and almost meditative, pieces that transmit calm, presence and contemplation through their forms and materiality.

My main focus was to create a collection that connects art, design and sensory experience into one language.

I wanted the pieces to feel timeless and sculptural, while still maintaining functionality and comfort. Each object was designed as if it were a physical manifestation of vibration, almost as if sound had been frozen into matter.

Another important goal was to create an emotional atmosphere. I wanted people to feel something beyond the object itself: stillness, curiosity, introspection and connection.

I see Frequency as an evolving body of work rather than a finished collection. My intention is to continue expanding the universe through new typologies, materials and scales.

I am currently interested in exploring larger sculptural pieces, immersive installations, lighting and spatial experiences connected to sound, vibration and sensory perception.

I also hope to continue presenting the collection internationally and collaborating with galleries, cultural institutions and design platforms around the world.

The conceptual development began more than three years ago through research into sound frequencies, cymatics, meditation and sculptural form.

The process evolved slowly and organically through sketches, experimentation, prototyping and material exploration.

I wanted the collection to feel emotionally and formally coherent, so each piece went through many iterations before reaching its final form.

This was not a commissioned project. It came from a very personal curiosity and desire to explore the connection between sound, emotion and physical form.

I pursued the collection independently because I felt the concept had the potential to create a deeper emotional relationship between people and objects. Frequency became a way for me to translate invisible energies and sensations into tangible experiences.

The collection is currently developed and produced within my own practice. I work closely with artisans and specialized manufacturing processes, particularly in metal casting and sculptural production techniques.

Maintaining close involvement in the production process is very important to me because materiality, craftsmanship and detail are essential parts of the identity of the work.

I have always been drawn to the intersection between art, design, spirituality and emotional experience.

Furniture and objects have the ability to shape how we feel within a space, and I wanted to explore that relationship in a more poetic and sensory way. Frequency emerged from the desire to create pieces that exist somewhere between functional design and sculpture, objects that invite contemplation while still being part of everyday life.

Rather than being influenced by a specific designer or object, the collection was shaped by a broader interest in sculpture, nature, sound and emotional experience.

I have always admired creators who blur the boundaries between art and design, and I am particularly inspired by works that feel timeless, spiritual and deeply connected to materiality. Architecture, contemporary sculpture, meditation practices and even music itself played an important role in shaping the atmosphere and philosophy behind Frequency.

Frequency was created for collectors, design enthusiasts and people who seek a deeper emotional connection with the objects they live with.

The collection is intended for individuals and spaces that value sculptural design, craftsmanship and sensory experience. It naturally resonates with contemporary interiors, collectible design environments, galleries and hospitality spaces looking for pieces that feel both artistic and timeless.

What makes Frequency unique is the way it translates invisible phenomena into physical form.

The collection is not only inspired by sound conceptually, but also by the visual language generated through vibration and cymatic patterns. I wanted the pieces to feel as if they were shaped by energy itself.

Another important distinction is the balance between sculpture and functionality. The pieces are expressive and emotional, yet still designed to be lived with and experienced in everyday environments.

The name Frequency emerged naturally from the core concept of the collection.

Everything began with the idea that sound, vibration and energy exist as frequencies that can influence emotion, atmosphere and perception. The word felt simple, universal and direct, while also carrying a poetic and almost spiritual meaning connected to resonance and human experience.

The process combined both traditional and contemporary tools.

I began through sketching, conceptual research and physical experimentation. Digital modeling and visualization tools were later used to refine the forms and proportions, followed by prototyping and production development.

Material exploration was also an essential design tool in itself, especially through metal casting processes and sculptural experimentation.

I believe the most unique aspect of Frequency is its ability to create an emotional and sensory presence through form.

The collection exists between furniture, sculpture and atmosphere. Rather than simply serving a functional purpose, the pieces aim to generate a feeling of calm, contemplation and resonance within a space.

Yes. The collection was developed in collaboration with artisans, foundries and specialized fabricators whose technical expertise was fundamental to bringing the pieces to life.

Working closely with skilled craftspeople allowed the project to maintain a strong balance between sculptural expression, material integrity and functional precision.

Technology played an important role in translating complex sculptural forms into producible objects.

Digital modeling, prototyping and contemporary manufacturing processes helped refine the geometry and structural aspects of the collection, while traditional craftsmanship preserved the emotional and tactile qualities of the pieces.

For me, technology is most meaningful when it supports human expression rather than replacing it.

Yes. The collection was influenced by research into sound frequencies, cymatics and the relationship between vibration and physical matter.

I explored how sound can generate visual patterns and how those invisible energies might be interpreted spatially and sculpturally. The research combined scientific references with philosophical and emotional exploration, creating a bridge between rational systems and sensory experience.

One of the biggest challenges was balancing sculptural expression with functionality and structural stability.

Because many of the forms are fluid and unconventional, the development process required extensive experimentation, prototyping and refinement. Another challenge was achieving the desired material finish and visual lightness while working with complex casting processes and solid materials.

I felt the collection had the potential to resonate beyond a local context because its themes are universal: sound, emotion, energy and human perception.

Submitting the project internationally was also a way to challenge the work within a broader global conversation and to connect with audiences, curators and institutions interested in collectible and contemporary design.

The project taught me the importance of patience and depth in the creative process.

It reinforced the idea that meaningful design often emerges through long periods of experimentation, reflection and refinement. I also learned how powerful emotional atmosphere can be within design, and how objects can communicate beyond their functional purpose.

Frequency represents an ongoing exploration rather than a final statement.

The collection is part of a broader interest in creating experiences that connect design, emotion, materiality and sensory perception. Moving forward, I hope to continue expanding this language through new objects, installations and immersive environments that encourage contemplation and human connection.

At the beginning, I wanted to become a sculptor. Over time, I discovered a deep fascination with objects and the way functionality can shape form. Function has often helped me refine and guide the gestures and structures I want to achieve.

Today, I do not like defining myself strictly as a designer. I see myself more as an author who develops ideas through different mediums. I am interested in sound, sculpture, objects without function, art and spatial experiences. However, design holds a very special place in my practice because it is the field I have explored and developed the most throughout my career.

Design is improvement. For me, design is everything that improves our lives through a specific function. It improves our experience, our environment and ultimately the way we live.

I enjoy designing freely, creating objects and spaces without limitations where I can fully express my vision. I believe creators have the responsibility to guide culture toward what feels meaningful and valuable, because we dedicate our lives to understanding form, experience and functionality.

Some projects are more personal and expressive, but I will always care about creating objects that establish a deep interaction and emotional connection with the user.

My favorite designs are probably the Antony Chair by Jean Prouvé and the Panton Chair by Verner Panton.

I love designing chairs because they are among the objects closest to the human body. Chairs can be expressive, simple or technically complex, but they will always be judged by both their comfort and their beauty. That balance represents the essence of design itself.

These iconic pieces are beautiful, functional and emotionally expressive. They were also highly ambitious for their time from a technical perspective. I admire the way innovation was pursued in service of meaningful design, and I aspire to create objects that achieve a similar balance between complexity, beauty, reproducibility and functionality.

For me, material is never the starting point. Form dictates the material, how it should exist and what it should become.

I work frequently with wood because it is a noble and timeless material with emotional warmth. I also enjoy working with bronze and aluminum because of their incredible sculptural possibilities and ability to capture complex forms.

Working with materials is about understanding them, respecting them and using them according to their strengths and nature.

Creativity comes in waves. There are moments during the day when ideas suddenly appear, and the real luck is having the tools or opportunity to develop them immediately.

Usually, ideas emerge when I feel calm or inspired by travel, exhibitions, films, music or conversations. Creativity is never exactly the same process twice.

Form is extremely important to me. I believe design should offer something that does not already exist.

There are already countless four-legged chairs and familiar typologies, so I constantly ask myself: why create more of the same?

I focus on creating pieces where complexity responds to comfort, stability and emotional expression. The concept must always be deeply connected to the final form.

When I design, I often feel a sense of certainty that almost feels magical. There are moments during the creative process where I feel deeply connected to what I am doing, as if I am exactly where I am supposed to be.

The difficult part comes when doubt appears, but I try to remain connected to that original feeling of purpose and intuition.

There is no better feeling than seeing an idea become reality. Watching a creation finally exist physically is incredibly emotional and rewarding.

People are often drawn to my work because of the balance between form and comfort.

Every curve and gesture in my designs responds either to emotional expression or ergonomic necessity. Because the pieces are visually complex and sculptural, they naturally attract attention, but their success ultimately depends on how they make people feel and interact with them.

Expression, comfort and originality. I always ask whether the design communicates something emotionally and whether it offers a perspective that feels unique.

Designers have a very important responsibility because we create objects that consume resources, occupy space and shape the environment around us.

Many products today are designed with very short life cycles. I believe we should design for future generations, creating objects that can be repaired, preserved and appreciated over time.

This can be achieved through high quality materials, timeless forms and emotional narratives that encourage people to value and care for their objects instead of discarding them easily.

Technology will continue evolving and production will become increasingly accessible, but I believe ideas will become even more important.

The future belongs to human ideas capable of emotionally connecting with other humans. As processes become easier and more automated, meaningful design, emotional value and originality will become more valuable than ever.

Even today, despite technological progress, people continue searching for vintage clothing, vinyl records and timeless objects because analog experiences and emotionally meaningful pieces continue to resonate deeply with us.

Last year was incredibly important for my practice. I exhibited at Salone Satellite in Milan, later during 3daysofdesign in Copenhagen, and afterwards in New York through Dórica. We closed the year during Design Week Mexico with a large scale intervention and functional sculptural installation for Design House.

Earlier this year, I also participated in several exhibitions during Mexico City Art Week connected to the same body of work.

The next step is to create an even larger exhibition, perhaps during Art Week Mexico or by returning to Milan again in the future.

I am deeply inspired by things that do not necessarily have a physical form, such as sound, emotions, memory and the passage of time.

I constantly look for new ways to express ideas through sculpture, music, reading, conversations and films. Sometimes inspiration comes from discovering unexpected connections between different disciplines or concepts, which later evolve into strong ideas for collections or objects.

I would describe my work as a contemporary reinterpretation of Art Nouveau.

My approach is rooted in observing nature, invisible phenomena, organic complexity, golden proportions and ergonomics. I combine these inspirations with contemporary technologies such as 3D modeling and 3D printing, later translated through artisanal production processes.

This relationship between observation, art, technology and craftsmanship defines my practice.

I live in Mexico City, a vibrant place filled with culture, creativity and diverse artistic perspectives.

One of the greatest advantages of designing in Mexico is the incredible craftsmanship culture. Here, it is possible to collaborate closely with highly skilled artisans and small workshops that are open to experimentation and ambitious technical challenges.

I have had the opportunity to work with stone, bronze, wood and glass through deeply enriching collaborations.

Mexican culture is also strongly connected to spirituality, symbolism and intangible ideas, and that sensibility naturally resonates within my work. In many ways, I try to honor ancestral perspectives and reinterpret them through contemporary design.

I work independently, though collaborations with companies are usually structured through royalties or creative partnerships.

I believe companies should seek designers who are genuinely disruptive, people with unique visions and distinctive forms that cannot easily be replicated.

A strong designer should understand materials, manufacturing processes and culture, while also being capable of pushing the market toward more meaningful and valuable ideas.

My process begins with visualizing an idea internally for a long period of time. Afterwards, I move into sketches, sculptural explorations and 3D modeling.

Once the concept feels clear enough, I develop prototypes through 3D printing and continue refining the object until it is ready for production.

The longest stage is always the conceptual one. I need to fully understand the essence of an idea before moving forward physically.

A pen, a notebook and everything else comes afterwards.

I like taking my mornings slowly. I enjoy exercising because it clears my mind and helps me feel balanced. I appreciate good coffee and the morning light entering my home.

Later, I go to my studio where I supervise ongoing projects and develop new ideas. I try to create something every day, even if it never becomes a finished product, because the creative exercise itself keeps me inspired and mentally active.

Recently, I have also been learning music production, so a large part of my evenings is dedicated to that practice.

Be original and have something meaningful to say. Sometimes we feel the urge to create simply for the sake of creating, but over time I realized that ideas become stronger when they are carefully developed and grounded in purpose.

I would also encourage young designers to build independent paths whenever possible. Many opportunities may depend on industries or companies, but there is always a small personal idea capable of becoming the beginning of something much bigger.

Design has the power to improve people’s lives in meaningful ways. Many people underestimate how valuable it is to love the spaces and objects around them, but those emotional relationships deeply affect daily life.

As designers, we have the responsibility to contribute positively to human experience. It becomes negative when we stop taking that responsibility seriously.

Original, expressive and comfortable.

Creativity combined with discipline.

I am inspired by sculptors such as Brancusi and Noguchi. I use Rhinoceros for 3D modeling, while 3D printing plays an essential role in understanding proportions, forms and prototypes physically.

Beyond software and tools, my greatest resources are observation, curiosity and experimentation.

Design takes time, but I have learned to create enough structure in my life to allow space for creativity.

Over the years, design has also become a mental practice that constantly exists in my mind, even before ideas become tangible objects.

It can take a single day or several years. Every object has its own rhythm, complexity and process.

“How do you come up with so many ideas?”

Exhibiting at Salone Satellite in Milan was one of the most important experiences of my career so far.

It allowed me to understand the global response to my work and realize that the emotional impact of the pieces transcended nationality and cultural context. The reaction to my work in Milan was incredibly positive and deeply meaningful to me.

I have collaborated with important architecture and interior design studios in Mexico, developing projects for hospitality brands such as Four Seasons, Ritz-Carlton, Montage and Hilton, among others.

I love designing furniture, but lately I have become increasingly interested in smaller objects and accessories because they tend to create a very intimate emotional relationship with users.

People often develop strong sentimental attachments to smaller objects.

I am currently developing many new products for my other brand Dórica, as well as a new bronze collection inspired by invisible phenomena, but explored through a completely new visual language.

For Dórica I work with an incredibly talented team, especially on the technical side of development and production. However, the creative direction and conceptual resolution of the designs always come from me because the ideas are deeply personal and specific.

My new collection is still in development, but I will soon release a new wooden chair for Dórica that I am very excited to share.

People can visit my studio in La Condesa, Mexico City, contact us through hola@sebastianangeles.com or follow my work on Instagram at @sebastian__angeles.

Thank you for the award and for creating a platform that allows designers to share their work internationally.