About
An artist's atelier. A signature collection of light sculptures.
Forms In Nature grew from an artistic investigation into organic form, light, and material transformation that Pío Díaz began in 2008. In 2011, Díaz launched Forms In Nature in Copenhagen. The first work quickly found an international audience, marking the beginning of a collection of handcrafted light sculptures and chandeliers sold worldwide.
The atelier
Forms In Nature is an artist-led atelier dedicated to light sculptures, chandeliers, and sculptural lighting. The atelier works at a controlled scale, developing each piece through long-term research, material testing, and close production control.
Every work is built as a complete system: cast metal, mouth-blown glass, bulbs, cables, fittings, suspension, surface, light, and shadow are developed around the original artistic vision.
The collection is the result of more than fifteen years of artistic and technical development. Forms In Nature operates between art and craft, creating works that are technically precise, emotionally present, and made to inhabit lived spaces.
The philosophy
Forms In Nature brings light sculptures into lived spaces. Nature is understood as transformation: a force that grows, breaks, adapts, and reclaims.
The work follows the spirit of early Darwinist observation — a fascination with the overwhelming abundance of living forms, species, structures, and systems. The natural world is vast, close, and almost impossible to fully comprehend.
Forms In Nature brings that living complexity into the interior through sculpture, casting, glass, light, and shadow. Each work creates atmosphere and enhances the emotional quality of the space.
The artist
Pío Díaz
Pío Díaz is a visual artist whose practice moves between nature, science, memory, transformation, light, and perception.
Forms In Nature is a direct continuation of that artistic practice. The atelier allows sculptural ideas to move from exhibition spaces into lived interiors while keeping their intensity as works of art.
For a wider view of Pío Díaz’s artistic work, visit piodiaz.dk.
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2008
Organic form research begins
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2011
Forms In Nature launched in Copenhagen
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15+
Years of artistic and technical development
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14
Works in the collection
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EU · US
Ships worldwide, wired for both markets
The process
From vision to light sculpture
Each Forms In Nature piece is developed from a vision. Materials, light, and technical systems are built around that vision. The visual force of the work is never compromised.
01 — From vision to light sculpture
Each light sculpture slowly reveals itself
The vision is refined, discarded, corrected, and revealed until its form becomes clear. Materials, light, wiring, and technical systems are developed around that vision.
The visual force of the work is never compromised. The result is a light sculpture where reality has been shaped around the image.
02 — Casting in Riópar
Where casting, fire, and landscape still feel inseparable
The metal work is produced in Riópar, a remote mountain village in southern Spain where casting, fire, and landscape still feel inseparable. Riópar has carried a metalworking tradition since the 18th century, when the Royal Factories of San Juan de Alcaraz became one of Spain’s historic centers for brass and bronze production.
The village stands inside a forceful natural environment: caves, mountains, burned forests, heavy storms, winter snow, dry summers, and an intense return of life after destruction. This is not a decorative idea of nature. It is nature as pressure, danger, resistance, and renewal.
In that context, each organic form is transformed through casting. The original is lost. The gesture survives in bronze or brass.
03 — Mouth-blown glass
Each glass element is carefully designed as both a screen and a lens for light
Its thickness, weight, surface, curves, and small variations determine how the light is softened, distributed, and carried through the material. The studio works with a small number of controlled glass forms, each one mouth-blown and individually shaped by hand in a remote glass workshop near Istanbul.
Pío Díaz personally follows the glass production process, from heat control and resting time to blowing, molding, cutting, polishing, blasting, waxing, correction, and final light reflection tests.
The glasses are made from the same base form, but each one is slightly pushed, shaped, and corrected so no two pieces are exactly the same.
“I invest my interest and dedication digging out past forgotten memory hidden in the layers of our mental adaptations.”
Pío Díaz — Artist and founder
Forms In Nature was founded in 2011 in Copenhagen. Every production decision — material, technique, finish — is made by Pío directly. The studio works with a small group of artisans trained over years of close collaboration.
This is not industrial production. Each piece is a consequence of the artist’s hand, eye, and accumulated knowledge.
04 — Invisible precision
Every part belongs to the sculpture
Every part of a Forms In Nature lamp is developed around the work itself. The cables, bulbs, fittings, closures, suspension systems, surface treatments, wiring, and small mechanical details are designed or specified by Pío Díaz so they belong to the sculpture rather than appear as standard components added afterwards.
Every step is treated with technical precision.
The suspension system is developed as part of the work: it has to hold, align, and support the piece while remaining visually calm and integrated. These elements are developed through research, correction, and continuous improvement. Their purpose is to support the work without disturbing the original vision of the light sculpture.
No technical solution should compete with the sculpture. Nothing should feel too visible, too heavy, or too ordinary. Each solution is carefully crafted and refined until it disappears into the visual logic of the piece.
05 — Light quality
Warm, present, calm, and distributed
Pío Díaz embraces rooms where the light is on. A very dark room asks the body to work harder: to move, to read, to see materials, to understand the space. An overlit room creates the opposite problem: the light becomes too demanding, too active, too present.
Pío’s light theory is built around the space between those two conditions. The intention is to create a balanced form of illumination — warm, present, calm, and distributed. A light that gives energy to the room without forcing the body to rise to the level of the light.
Forest works differently from the other pieces. It uses a specific selected light source that creates sharp, defined shadows, extending the sculpture onto the surrounding walls and ceiling. For the other works, Pío Díaz develops the bulbs himself, designing them around the specific needs of each light sculpture.
The focus is on warm light, accurate color rendering, deep dimming, and stable light without visible flicker. The glass protects the eye from direct brightness and distributes the light softly through the room.
Each piece is designed to create small centers of warmth — points of light that guide the room in a balanced way. Light is treated not only as illumination, but as a way of shaping the emotional quality of a space.
06 — Fine balance
Each piece is tested before it leaves the studio
The final calibration is personally made by Pío Díaz, adjusting light, glass, metal, surface, fittings, cables, suspension, shadow, warmth, and presence until the work reaches its balance.
This balance is both technical and emotional. The piece has to function with precision, but it also has to feel natural in the room. Every part must support the original vision of the light sculpture.