adrienlucca

CLICK ON THE PICTURES!

Montréal Stained Glass Project video

Montreal stained glass : pannels 9 & 10

_MG_0520_MG_0534_MG_0540

What Mary didn’t Know, last days

mail

The exhibition is extended for a few more days,

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

Haseeb Ahmed “The Wind Egg” at the Von Karman Institute

tst_wind_egg_poster_v12_print_1340_c

Haseeb Ahmed poster Wind Personification, presented at the Von Karman Institue during The Wind Egg, on May 4, 2016

I met Haseeb Amhed – an American artist based in Brussels since 2014, and a friend -, in 2011 at the Jan van Eyck Academy in Maastricht, NL. We were both researchers in the Fine-Art department for two years, I was there in 2010-2011, Haseeb in 2011-2012. I missed many of his numerous shows and interventions since I know him, but I have had several chances to appreciate the evolution of his work over the years in the exhibitions Table-Tops Room at the JVE in Maasticht in 2011, Has the World Already Been Made? in Hedah in 2013 (during which Haseeb kindly invited me to give a presentation in the space about my work), or Fish-Bone Chapel in his studio at Le Sceptre in Brussels in 2014.

planeur-1

Haseeb sometimes glides in Germany

The first contact I had with him was indirect, he was presented to me by a member of the recruitment jury as “a young artist that comes from the MIT”, the day he passed his interview to join the JVE. I admit that I was slightly jealous, I imagined him as some kind of polymath, brilliant and arrogant young men that would detect and criticize all the scientific flaws that my color research contained at that time – or even worse ignore me because I was a beginner. I was also happy and excited to meet another artist that develops an artistic practice related to the sciences. Eventually I felt like working even harder and I spent the whole christmas holiday period of 2010-2011 working alone in the JVE’s building.

22_dsc02769_1340_c

Detail of one of the two pieces on display in the show HWBM x7 by Haseeb Ahmed and Daniel G. Baird, at hl-projects in Brussels, 2015

I have always found it difficult to explain to others what Haseeb’s doing – it’s usually a good sign I assume. Several times Haseeb surprized me, some of these times I even felt disappointed because I was projecting my own visions and ideas on some products of his studio practice. Similarities between him and me might explain my attraction for his work back then: I was working with lines of colored pigments / he was printing beautiful green, red or white geometric objects with thermoplastic lines using his 3D printer; I admire the Gothic Architecture from the Middle-Ages (especially the Stained Glass of the French Cathedrals that I visited as a kid in Paris, Amiens, Strasbourg, Chartres, etc.) / he did a lot of works related to the complex sculptural patterns of the domes in the great Islamic architecture (the Alhambra of Grenada in particular); Haseeb also likes to write, he likes drawing, he studied both Applied-Arts and Fine-Art (me as well), discussing about art education we agreed on many points, for example we both recognized the importance of drawing as a way of thinking and understanding.

Haseeb wrote the following lines in the foreword of my Interview Beta in 2011:

[…] one can know something only to the extent that they engage with it – simply said: ‘to draw is to know.’

HA wind face

The wind’s face, two vortex generated by a delta-wing placed in a wind tunnel. The picture is created by illuminating smoke particles with a red laser.

I am still not sure how to proceed if somebody asks me to explain Haseeb Ahmed’s artistic practice to him/her. I’ll start by a list of what I have seen yesterday at The Wind Egg in the VKI:

An African vulture, several wind-tunnels of this amazing NATO research facility, actors playing scientists, scientists playing actors, a group of people coming from all Europe going by bus to the event and returning to Brussels afterwards, a drone, plaster and thermoplastic models of intriguing “wind-eggs” – said to be fertilized by the wind, the model of a single-sperm gold nano-container that will be dropped in the Earth’s atmosphere by a robotic arm of the International Space Station, an array of speakers that was creating an acoustic vortex, electronic vulture eggs, a miniature version of Boccioni’s Forme uniche della continuità nello spazio in the biggest low-speed Belgium’s wind tunnel, a rather complex wind-egg aerial fertilization protocol using aeroacoustic waves sent into the wind flow by Marc Matter from a LP disk player. The sound of the experiment, recorded by a microphone inside of the egg, mimicked a heartbeat…

.

vki_logo_blue_rectangular_557x156

Haseeb worked 3 years with the VKI to build this unidentified object

The conclusion of this 30 min (?) guided tour that took place at the VKI in Rhode Saint-Genèse yesterday was an experiment where Haseeb’s friend Piero Pisello was exposing the wind to some visual stimuli using a computer display. The wind was supposedly reacting – a delta-wing that generates two beautiful quasi-symmetrical vortex was creating a wind’s “face” that had basic feelings (see Haseeb’s poster at the top of the page for more details). We even learned that since it fertilizes wind eggs, the face of the wind that we were observing was a masculine one. Quite an amazing experience, really, very very intriguing. A truly unidentified artistic object.

see: http://www.haseebahmed.com/

 

Pictures (II) Wave Patterns @ LEVY.DELVAL

 

Current exhibition at LEVY.DELVAL, Brussels, BE

Photos Courtesy of LEVY.DELVAL

see >> http://www.levydelval.com/exhibitions/Adrien-Lucca-49

Wave Patterns @ LEVY.DELVAL, pictures

 

ADRIEN LUCCA
WAVE PATTERNS

19/04 28/05/2016

Note: from April 20 to 24, the gallery will be open from 10am to 6pm.


On white paper sheets, grids of little colored squares are painted. For every composition, the two juxtaposed colors are complementary and the proportion of each color is calculated for the optical average of the grid to be a grey. The local probability for a square of the grid to be of one or of the other color is determined by two superimposed sinusoidal waves, whose frequency and direction are randomly chosen. The complementary colors amplify themselves mutually when we look closely at them: a light yellow is more light and more yellow next to a dark blue-violet and vice-versa. However, the resulting color of the patterns is light, balanced, and a bit faded by the paper whiteness.
Because the colors of the compositions interact with each other and with the colors on the walls, the pieces were placed in a random order. There was no good reason for any of them to be next to another one in particular. The two colors used in every piece were used only once in the series. Some of them are very similar – for example the Pigment Yellow 74 and the Cadmium Yellow dark n°9 –, and these small differences are made more perceptible when they are next to each other. The variety of the colors used in the series covers all existing hues: red, orange, yellow, green, blue-green, turquoise, blue, blue-violet, violet and magenta. There is no black nor grey in use. The name of the pigments used and the order in which the compositions were produced determines the titles.
The wallpapers behind the frames and the drawings were generated by a similar algorithm that works with physical color measurements done with a spectrophotometer. Every pattern is unique by its shape and colors, but is generated by the same series of rules and constraints. 50% of the paper is covered by paint, and the superficy of the little squares can be 4 mm², 2 square root of 8 mm², 16 mm² or 2 square root of 32 mm².

Adrien Lucca

 

CLOSE-UPS:

 

 

Article in La Libre Belgique

13147847_503027199880955_4682274995338707833_o (1)13116237_503027196547622_4826979483114627674_o

Opening speech at Lamberts international stained glass symposium, Waldsassen, DE

keynote

“Soleil de minuit”, stained glass pannel n°5/14 (detail), 2016

LAST MINUTE INFORMATION: I’ll be the first speaker during the First Transatlantic Stained Glass Symposium, April 26,2016 – April 28,2016 in Waldsassen

Adrien Lucca

Artist, independent researcher, color theory teacher at the national visual arts school La Cambre in Brussels, BE

Presentation: Between Tradition, the visual Arts and the digital technology: a digital stained glass project made of Lambert glass in a metro station in Montreal, CA

 

My art tries to be a visual equivalent of what music is in the field of audition. I reject every concept that doesn’t reflects in a material and visual reality.

For the last 8 years I develloped an approach centered around « light and color », that is based on a scientific methodology, on computer programming, on physics and color theory. Like a painter my tools are brushes, pigments, paints, paper or colored glass but also lamps, scientific instruments and equations. For me, the technique and the conceptual quality are two sides of the same problem, I wish to create a work that blurs existing categories such as « art », « science », « invention », and I defend the idea that scientific knowledge is free from the individuals that create it and from the institutions that fund it. Science can be used and practiced by anybody that understands it including outside of the academia and of the industry.

In 2015 I proposed the realization of a large-scale stained glass project in the frame of a competition involving an exchange of artworks between the cities of Brussels, BE, and Montreal, CA, and I won. I am currently working on the production of the artwork with the studio Debongnie in Belgium. The project consists of 14 stained glass pannels for a total of +-50 m², that have been completely designed by a computer algorithm. My software uses a spectral-colorimetric database of 350 different Lamberts glass samples measured in the factory with a spectrophotometer in the summer of 2015.

My talk will explain how I successfully adapted the techniques of color-management that I developped in my previous works to the medium of stained glass, what problems I encountered during the conception and the production of the pieces and how they were solved algorithmically or pragmatically in Debongnie’s studio.

The talk will be divided in 3 parts:

1- An explanation of why I wanted to work with stained glass in the context of my artistic work with light and color

2- « Soleil de minuit »: outlines of the stained-glass project for Montreal

3- The production of the stained glass in detail, from the physical color measurements to the conception of the algorithm, and to the material production in the studio Debongnie

I’ll conclude this presentation with a “hansei” (a japanese word meaning “self-reflection”, meaning to acknowledge one’s own mistake and to pledge improvement). I will criticize my own approach based on what I have learned by working with Lamberts and Debongnie and on what I’d like to change in my way of dealing with the medium of stained glass when I’ll have a chance to do it again.

See: http://www.lamberts.de/fileadmin/lamberts/pdf/The_First_Transatlantic_Symposium_-_FINAL.pdf

Article: “ADRIEN LUCCA BLURS THE CATEGORIES BETWEEN ART, SCIENCE AND INVENTION”

Article about the show “Wave patterns” at LEVY.DELVAL on Widewalls.ch

ADRIEN LUCCA BLURS THE CATEGORIES BETWEEN ART, SCIENCE AND INVENTION

by Nadia Herzog

aaaa

When it comes to erasing boundaries between art and science, who is the man? Adrien Lucca for sure is. Watch out for his newest exhibition Wave Patterns coming to Levy Delval gallery in Brussels. Lucca is a kind of an artist who is not afraid to experiment and widen his horizons to catch the pure essence of the image in his mind, and to put it down to paper just as it is. He enjoys playing with colors, he loves exploring the depths of different shades, and he is among few young artists based in Brussels who had a solo show in a public institution of the city.

 

 

Random Frequency of the Sinusoidal Waves

If you think equations are not important for art, then think again. Because Lucca would prove you wrong. His art is based on physics, computing, precise proportions, and calculating a definition of colors. But, not just any colors. Adrien Lucca approaches the complementary shading in a serious manner. He knows that, if he injects yellow, for example, he will put dark blue-violet next to it, in order to make yellow shine even brighter. The only randomly picked parts of his artwork are the frequency and direction of the sinusoidal waves. That’s right, Lucca is using mathematics, physics, and even psychophysics to wrap up his work as a unique entity of art. And the final result is – light. When a viewer watches these color compositions on white paper, he sees them as a light that keeps on shining on.

Visual Equivalent to Music

Various techniques has Adrien Lucca tried so far, but for his newest work he is back to pigments and pencil on paper. It seems to suit him perfectly, as he is determined to make his art appear simple, clear, and as universal as it can be. He likes to define his art as a visual equivalent to music. The beauty of science is hidden within each and every of his art pieces. He carefully studies self-coded computer software, complex mathematical formulas, and scientific methodology before he incorporates it in his work. A thorough research he conducts in the preparation stage is usually done in a tech-lab or by managing computer-based math experiments. And above all, the color theory is carrying the leading role in his art. As the artist claims himself, his art is centered upon color and light.

Adrien Lucca’s Solo Exhibition in Brussels

Lucca’s newest color study Wave Patterns is brought to life as different art pieces which will be presented at the exhibition with the same name, which is on view at Levy Delval gallery from April 19 until May 28, 2016. Estimated price range for Lucca’s artworks will go from EUR 3200 to EUR 6500. At the same time, Levy Delval gallery will host the exhibition titled Corpus, the first solo show of Hayal Pozanti, an artist who was born in Istanbul, but has been living in New York City for some time now.

Featured image: Adrien Lucca – Wave Patterns Series 1, #6, 2016 (detail).
All images are courtesy of Levy Delval Gallery.

Wave patterns, exhibition @ LEVY.DELVAL, Brussels

8

image: Wave pattern series 1, #8, Cadmium Yellow dark n°9 – Manganese Blue, 2016

 

ADRIEN LUCCA
“WAVE PATTERNS”

opening Tuesday April 19 from 6 to 9 PM

– – –

Note: from April 20 to 24, the gallery will be open from 10am to 6pm.

On white paper sheets, grids of little colored squares are painted. For every composition, the two juxtaposed colors are complementary and the proportion of each color is calculated for the optical average of the grid to be a grey. The local probability for a square of the grid to be of one or of the other color is determined by two superimposed sinusoidal waves, whose frequency and direction are randomly chosen. The complementary colors amplify themselves mutually when we look closely at them: a light yellow is more light and more yellow next to a dark blue-violet and vice-versa. However, the resulting color of the patterns is light, balanced, and a bit faded by the paper whiteness.
Because the colors of the compositions interact with each other and with the colors on the walls, the pieces were placed in a random order. There was no good reason for any of them to be next to another one in particular. The two colors used in every piece were used only once in the series. Some of them are very similar – for example the Pigment Yellow 74 and the Cadmium Yellow dark n°9 –, and these small differences are made more perceptible when they are next to each other. The variety of the colors used in the series covers all existing hues: red, orange, yellow, green, blue-green, turquoise, blue, blue-violet, violet and magenta. There is no black nor grey in use. The name of the pigments used and the order in which the compositions were produced determines the titles.
The wallpapers behind the frames and the drawings were generated by a similar algorithm that works with physical color measurements done with a spectrophotometer. Every pattern is unique by its shape and colors, but is generated by the same series of rules and constraints. 50% of the paper is covered by paint, and the measure of the little squares can be 4 mm², 2 square root of 8 mm², 16 mm² or 2 square root of 32 mm².

Adrien Lucca

 

LINK: http://www.levydelval.com/exhibitions/Adrien-Lucca-49

http://www.levydelval.com/exhibitions/Adrien-Lucca-49

Wave patterns study #1, 2016

00

Pencil and fish-glue tempera on archival paper, 9 colors, 104 x 147.3 cm (hand-made)

Montréal stained-glass project: pictures

num3_ copynum4_ copynum5_ copynum6_ copynum7_ copynum8_

We just reached half of the production of the stained-glass series. Above: the pannels n°3, 4, 5, 6, 7 and 8 (number 8 is asymetrical to fit one window which is narrower than the others).

 

new drawing in progress

dessin A 1dessin A 2dessin A 3dessin A 4

Everything’s hand-applied paint on paper, soon a big picture !

complex complicated
Follow

Get every new post delivered to your Inbox.

Join 391 other followers

%d bloggers like this: