adrienlucca

CLICK ON THE PICTURES!

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ADRIEN LUCCA
28TH JANUARY – 30TH APRIL 2016

Georg-Schumann Str. 93, 04155 Leipzig
+49 (0) 176 995 77 88 9
info@kunsthalle-leipzig.com
Tu – Sa: 2-6pm, by appointment only

http://www.kunsthalle-leipzig.com/

What Mary didn’t know? Kunsthalle Leipzig

mapcamouflage

e. CAMOUFLAGE, 2016 – inkjet print on canvas, 55W SOX lamp

edition camouf

e. & b. SOX EQUIVALENTS, 2016 – 3 inkjet prints on canvas, diagram, folder

magic carpet 2

d. MAGIC CARPET, inkjet print on canvas, 10W RGB led, 36W SOX lamp

magic carpet

rgb light

 

plotA3

c. CHROMATICITY DIAGRAM, 2016 – machine-drawn ballpen on paper

text kl

Having fun with the Graphtec

Ballpen-drawing a page of the edition “SOX EQUIVALENTS” with a Graphtec cutting plotter, for the exhibition “What Mary didn’t know” in Kunsthalle Leipzig, opening on Thursday, see:

http://www.kunsthalle-leipzig.com

Image of the first stained-glass panel

IMG_0010

We have had some difficulties with the first pannel (the technique is still experimental). I will have much better pictures (of the second one, if everything goes well – I am very confident that it will work…) in three weeks.

Back to drawing soon…

Some pictures of my recent attemps at solving drawing problems that I left behind a year and 1/2 ago.

Bubble

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1 pixel thick bubble made of particles emitting white-light

 

 

The problem of choosing the right colors for stained-glass compositions 1 bis/2

(above) two sheets of Antique mouth-blown glass presenting strong color irregularities versus (below) the original measured samples of the same references at the Glasshütte Lamberts factory last summer. The chemical composition of the material is the same, but the thickness greatly varies. How to deal with such differences?

 

Stained-glass is a very special material to work with.  One one hand, the colors of some glass have absolutely unique properties: the light that passes through it is so well filtered that it produces a color that is more pure than any other material (with the exception, maybe, of some dyed gelatin filters – however gelatin filters are very fragile, while glass is almost unalterable). On the other hand, Antique stained-glass is produced by manual workers (it is mouth-blown) in coordination with chemists that “tune” the glass chemical composition in massive ovens. The result is a very beautiful material that present a lot of natural variations of thickness and of color.

Some stained-glass are colored in their mass, while some others are “plated”: a sheet can be made of 2 or 3 layers of different colors that are superimposed. The upper plate is usually very thin (up to +- 1/10th millimeter or less), and very “concentrated”, i.e., if the plate is thick the color can easily turn almost black, while it would be Pink at 1/10th mm.

Depending on the spectral characteristics of the chemical components involved, the thickness can matter or not. Strangely enough, some orange selenium-glass sheets don’t change colors if they are 3 or 5 mm thick, but become strongly lighter if they are less than 2 mm thick, for example. This is a consequence of the spectral transmission curve of this particular colored glass. When I was visiting the stained-glass studio Parot in Paris a few months ago. I saw a similar phenomenon: a 10 cm thick piece of fused glass (silver-yellow I think), made of a bunch of yellow glass plates, had exactly the same color as one of these plates! (The explanation is easy but would take a long time to write).

*

So… with such a difference between the data and the reality, what do we do?

There are several possibilities: accepting the natural variation, excluding the parts of the glass sheets that are too different (if we have enough stock!), or correct the data and redisign the pictures progressively, pannel by pannel, when it is possible to introduce more variety.

The fact that the glass “natural” color-variations introduce another level of randomness in the pictures is also interesting.

So far, the comparison between the computer model and the stained-glass pannel seems fair enough. However, the real test will be made within a few days, when the pannel will be ready to be lighted from behind! (right now the colors are not appearing correctly and it is impossible to tell how it’s gonna look like).

IMG_0441v4_1.pbm

 

Montréal project: images of the first glass-pannel

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Top view of the first of fourteen unique stained-glass pannels, before epoxy resin will be used to fix individual antique-glass “pixels”. The picture measures +- 202 x 153 cm. Image doesn’t appears correctly because we cannot use backlight yet. The fixation with epoxy will be the final test, it’s gonna take another week. (Image taken at Vitraux Debongnie, Blanmont-Chastres, BE)

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Printing the map of the 1st stained-glass window

printing the 1st map.jpg

Glass pixels measure 4×4 cm, the names correspond to references in the Glasshütte Lamberts catalogue.

detail:

detail 1st map.jpg

The problem of choosing the right colors for stained-glass compositions 1/2

production06 1

The glass-blowers at Glasshütte Lamberts (Waldsassen, Germany) are working every week-day between 4AM and 10AM, that’s a tradition, they said…

Last summer, I was on a trip to Waldsassen, Germany – next to the Czech Republic border – at the Glasshütte Lamberts factory. It is one of the few remaining factories in Europe where colored glass sheets for stained-glass are produced in a traditional way. Mouth-blown glass is made every week days by several teams of workers. First shaped as long bottles, the glass is recooked in a secondary step to be flattened into sheets of 0.54 m².

I went there to choose the colors that I want to use for the stained-glass project that I am working on. In the “standard” catalogue, Glasshütte Lamberts has a bit more than 250 references. But in the factory, there is much more: around 5000 different glass, the “non-standards”, which I came to see.

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A part of the factory where 5000 different series of glass sheets are stored, every series being unique, and the office of color-expert and Sales Director Manfred Mislik, where we had a talk about colors.

Since I started to get in touvh with people in the stained-glass world several professionals asked me how I will choose the colors. I heard that working with glass is always a challenging experience and that for many artists, it was a difficult or even painful experience, either because there are too many possibilities, or because the appearance of the glass, its transparency, was too different from the logic of for example, painting.

When I got there I had a strategy: I came with a spectrophotometer and a light box that I built a few days before. In the office, I made 312 spectral measurements : all the standard catalogue, plus 75 “non-standard” colors that I picked up in the room, especially the very intense types: Plated deep Reds, Selenium Reds, Oranges, Yellows, and Gold-based Pinks.

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One of the several trials at making gradients from deep Red to Yellow (imitating the Cadmium pigments series with Selenium glass)

Thanks to the spectral measurements I made, I could build a colorimetric database. I only had to get the spectrum of the LEDs that I will use in the installation to calculate the colorimetric coordinates of every single glass. It is necessary to have the spectrum of the light source that will illuminate the glass to be able to calculate the colors of the glass in a simulation, because these colors vary depending on the light that lights them up. I got the needed emission spectrum from the LEDs manufacturer :

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The emission electromagnetic spectrum of the LEDs that I will use in the metro station to illuminate the stained-glass from behind.

All of this (the trip, the selection, the spectral measurements and the spectrum of the light source) were necessary pre-requisite steps to be able to start working.

The next steps will be discussed in a future post

Montréal project: final choice of the compositions

It’s probably time to give an explanation about all this…

Recently I have been very busy with what’s about to become my biggest project so far: after winning a competition I have been commissioned by the region of Brussels to produce an artwork that will be installed in a metro station in Montréal (Québec).

My proposal is to create a series of 14 stained-glass pieces (recently I heard that JS Bach was obsessed by the number 14! That’s funny because I have always been obsessed by this number – don’t ask why). The work makes a reference to the 2015 summer solstice’s sunrise over the city of Brussels.The windows will be illuminated by high-power LEDs, it’s a kind of crazy Solar light-glass machine…

Today I have to give the final plan to the stained-glass studio Vitraux Debongnie near Brussels. This includes a final list of glass colors that I have selected in Germany this summer. I measured the transmission spectrum or more than 300 antique-glass samples from Glasshütte Lamberts and I ended up choosing 84 different colors.

More information soon.

Concert-lecture and Exhibition – on Wednesday & Thursday @ La Loge, Brussels

concert-lecture
04/11/2015
05/11/2015
Partita Partagée
by George van Dam and Isabelle Dumont, with new works by Adrien Lucca

Partia Secunda (1720), Bach’s manuscript

Concert-lecture
Wednesday 4 November, 8 pm
Thursday 5 November, 8 pm

Exhibition of works by Adrien Lucca
04 & 05 November 2015, 8pm & on view until 14 November
(Thu-Sat from 1 pm to 7 pm, admission free)

La Loge is pleased to present Partita Partagée, a unique project bringing together the plastic and analytical qualities of music, drawing, and architecture.

Johann Sebastian Bach’s Partia Secunda (1720) has long accompanied the violinist George van Dam. In collaboration with the dramatist Isabelle Dumont, he conceived a concert-lecture to share the history, the conception, and the musical architecture of this virtuoso piece. A combined introduction and interpretation, this performance invites the public to another listening of Bach.

Bach is a master of counterpoint and harmony. Inspired by the science of numbers, he succeeds in associating rigour and balance with formal and rhythmic creativity. Not only does the Second Partita reveal the polyphonic potential of the violin, it also unfolds in a singular space-time while carrying dramatic force and emotional depth.

Invited to echo this project, French artist Adrien Lucca creates a new series of prints freely interpreting Bach’s particular score construction. In line with his artistic language, Lucca’s images are progressive colour and light variations translating the inner rules of a chosen algorithm. Based on a precise use and understanding of mathematics, printers and colorimetry, Lucca’s works emerge from an unlikely alchemy in which objective data become open images capable of expressing their processes of appearance.

About the contributors:

George van Dam (°1964 Namibia, lives in Brussels), is a violinist and composer. He has worked with leading composers of today as a soloist or within the context of contemporary-music ensembles – Ensemble Modern Frankfurt, MusikFabrik, or Ictus, of which he is a founding member and has performed in major concert halls in Europe, the US, and Japan. His compositions include chamber music, song cycles, a violin concerto with timbila-orchestra, film music, and music for theatre and dance performances. He resumed studying the harpsichord in 2012 with Robert Kohnen, Ketil Haugsand, and Bob van Asperen.

Isabelle Dumont (°1963 Belgium, lives in Brussels) is an actress, dramatist and author professionally active within the fields of performing arts. Besides numerous collaborations with, among others, cie Mossoux-Bonté, directors Philippe Van Kessel, Charlie Degotte, Ingrid von Wantoch Rekowski or artists such as Dominique Roodthooft and Jorge León, she has been developing personal scenic projects that often take the form of wunderkammer-lectures exploring natural sciences or baroque genre for instance. Dumont regularly introduces operas at La Monnaie.

Adrien Lucca (°1983 France, lives in Brussels) studied at l’ERG (Ecole de Recherche Graphique) in Brussels and at the Jan Van Eyck Academie of Maastricht. He teaches colour at the ENSAV La Cambre in Brussels. Lucca has shown his work at IKOB, ISELP, Casino Luxembourg, Elaine Levy project, Institut de Carton, and Maison Grégoire among others. He is currently preparing an exhibition to be held at Kunsthalle Leipzig and developing a large-scale stained-glass public commission for the metro of Montréal.

Schedule (4 & 5 November)
8.00 pm introduction
8.15 pm concert-lecture (French spoken, EN & NL translation available)
9.15 pm drinks

Practical information:
Admission: 10 Euros
Limited seats – Reservation required via info@la-loge.be

Simultaneous parameter-variations

IMG_0176 copy IMG_0178 copy IMG_0179 copy IMG_0180 copy IMG_0182 copyBig to small / colorless to colorfull / few to lots / foggy to sharp (? not sure about that last one…)

2nd stained-glass prototype

  1. essai A3 lignes noiresessai A3 lignes noires planSolving the issue of white spaces in-between glass-pixels by painting opaque black lines over the edges of every square.
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