Ömer Öner is a Turkish artist, BA and MA Medieval History graduate. Having worked as a lecturer and researcher in Turkey, he studied in Central Saint Martins BA Ceramic Design course in London. His creative journey has been shaped by his educational background and a fascination with the creative power of found objects

Ömer’s artistic practice revolves around the idea of repurposing found objects by regenerating and assembling them into highly crafted ceramic forms. Ömer employs the techniques of mould-making and slip-casting to replicate and multiply the original objects. These practices enable him to replicate and multiply the diverse array of discarded materials. Door handles, bed knobs, scrap wood, plastic, glass, and fragments of metal furniture are not mere cast-offs to Ömer; they are wellsprings of opportunity and inspiration.

He preserves the essence of these found objects first in plaster moulds and then transmutes them into clay replicas through slip casting. In this way, he conserves their distinctive forms while altering their materiality, casting them into ceramics. The resulting artworks bear the distinct characteristics of their origins, yet their function is transformed, giving them new life and meaning.

His work is a testament that discarded items, often overlooked as trash, hold creative potential and inspiration.

"Driven by a passion for lighting, my practice explores how light influences the emotional quality of an interior setting, and how subtle shifts in illumination can alter the way a space is experienced. I am interested in lighting not only as a functional necessity, but as a spatial tool capable of constructing an atmosphere, defining the character of an environment.

Influenced by principles of biophilic design, my work considers how natural references can be reintroduced into contemporary interiors through form, texture, and tactility. Rather than directly replicating natural forms, I translate their rhythms and irregularities through hand developed processes that allow subtle variations in form and surface.

My practice is fundamentally process-led. Through making, I investigate how material, thickness, and surface alter the behaviour of light. Working primarily with porcelain, I am drawn to its delicate yet durable nature and the way its translucency diffuses light. Using slipcasting as a method of control and experimentation, I refine wall thickness and surface detail to achieve a soft, ambient glow. Each piece evolves through refinement, balancing precision with organic form.

Positioned between craft and contemporary lighting design, my work explores how porcelain and light can be used deliberately to define the character of a space."