GABRIEL JACOBS
INFORMATION
CV

gabriel jacobs is a 27yr visual engineer based in nyc. he solves problems and creates solutions to ones that dont yet exist through a combination of storytelling, visual design, analytical research, physical scuptural practice and technical know how.

working across a variety of fields including finance, marketing, fabrication, fine art, tech and fashion he embues the jack of all trades persona.




PURPOSE SELECTED PROJECTSWHEN
BRANDING_SOMADA systems2025-now
DESIGN
_SOMADA products2024-now

CLIENT
Sergio Tacchini2025-now

GEN AIAI --GEN--
2023-now

CONCEPT
24hr layout
2021-26

FINANCE Keyrock Trading 2021-2025
SCULPTUREmy sister’s plight2019-20
MODERN ANTHROPOLOGY
PERM-line  2017

POLITICAL RESEARCH
ru n fra gm ent ation 2018

PHOTO
Family Threads
2015-17

DOCUMENTARY
THE Restrooms 2015-16

ENGINEERING
>>FLIGHT SYSTEMS<< 2014-16

TT9_DO
Ref. V/PLX-302  2037

POD_15
Ref. V/GRQ-281 2036

LPA_CC
V/KSN-778  2035

S34_YV
V/EAO-541  2034

FED_D8
Ref. V/TUR-444  2033


SED_DO Ref. R/XTR-0822049











In late 2022 while visting a friends home in Baden, Switzerland I saw something “impossible”. Suspended from the ceiling a massive crystaline resin sculpture, interlinked seamlessly together with interlocking shapes that seemed fantastical and alien. It was here that I was introduced to two new sculptural worlds that I decided to dive headfirst into, Resin SLA Printing and Virtual Reality sculpting.

By 2024 I knew that I wanted to take these forms these processes and not only share it with the world but make the assessible as wearable sculptural adornment systems. It was then I embarked on the creation of the SOMADA product line that exist today. In collaboartion with friends, other talented designers I built off of and created the body of work that is behind the brand currently.




NAVA
XYRA BODY
XYRA SHORT
ORAI TOP
ORAI NYLON
ORAI BOTTOM

WINTER 2025 ACCESSORIES LINEUP 




>> on “Inspiration” <<

Nothing is designed in a vacuum, what we create is an amalgamation of all our intakes througout our lives, what impacts us, what moves us, and most importantly what intrigues us.

For as long as I can remember I would always run my finger along every surface I could find, bark, soil, grates of a speaker gril, the grip tape of a skateboard.

I feel repeating forms, elongated forms, forms that bump again and again and slowly arc across through and into themselves. Its this that I draw my ‘inspiration’ from.

I collect these together, the imagery, the feelings before I sculpt. Then set them up in front of me, not as inspirations but as reminders to why I am here to sculpt.




A sculpt and its reference: H.R. Giger (1964) “Untitled” Relief



All these pieces pieces are developed through a hybrid digital workflow combining direct sculpting and parametric generation. Forms are built using a combination of Virtual Reality sculpting and node-based systems in Blender, allowing for the creation of geometries that would be impractical or impossible to resolve through traditional modeling or subtractive manufacturing.

The design language is intentionally non-ornamental. Structural repetition, articulation, and surface continuity are treated as primary visual drivers, producing components that read as functional systems rather than decorative elements.

Most designs start in Virtual Reality 



Prototyping, material testing, and initial production were conducted in-house using SLA resin printing to validate geometry, tolerances, and wearability. This additive-first approach allowed for rapid iteration while preserving the integrity of highly complex forms.
Following validation, select pieces were transitioned into high-quality metal alloys through collaboration with external production engineers. Material decisions were driven by mechanical performance, surface fidelity, and long-term durability, with the goal of elevating the work beyond concept objects into finished, luxury-grade artifacts.



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