Glass pixels measure 4×4 cm, the names correspond to references in the Glasshütte Lamberts catalogue.
Glass pixels measure 4×4 cm, the names correspond to references in the Glasshütte Lamberts catalogue.
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.
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.
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 :
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
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.
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
Admission: 10 Euros
Limited seats – Reservation required via firstname.lastname@example.org
My very first stained-glass compositions… :)
They are more vibrant than the simulations below, but taking a correct picture of a stained-glass window is impossible!
The person holding the glass is Colin Debongnie, the son of the founders of the atelier “vitraux Debongnie” in Wallonie next to Brussels ( http://vitraux-debongnie.be/ )
Art on Paper in collaboration with BOZAR, Art on Paper / the Brussels drawing show / at BOZAR / 11 > 13. 9. 2015
solo at the stand of http://thewhitehousegallery.be/
[…] Adrien Lucca associe la réflexion mathématique, les outils numériques et l’intuition artistique […]
[…] It’s interesting to see how drawing is now not only defined in a material way, but in a way of thinking, or in how the artists is relating to his or her practice. Artists from a younger generation have another relationship with the medium. For example Adrien Lucca, leads an interesting reflection on colors through mathematical and scientific protocols, ensuing on poetical compositions. Still, he questions the essence of drawing in relation with the color and the scenes. […]
see full description in English here: http://us2.campaign-archive2.com/?u=8196667d1ae2dabe51ccf1621&id=0c7b5b837d
L’ikob – musée d’art contemporain de la Communauté germanophone de Belgique est heureuse d’annoncer deux expositions en dialogue : CATALYST – Marcel Berlanger et Adrien Lucca (artiste invité)
du 27.09.2015 au 13.12.2015.
Vernissage le dimanche 27 septembre 2015 à 15h
CATALYST vient du mot catalyseur ou catalyse, un produit qui sert à favoriser une réaction chimique entre deux éléments sans laisser de trace. Contraction des mots analyse et catastrophe ou catastrophe et liste, ce mot fait depuis longtemps partie d’une liste possible de titre. C’était le nom de l’usine du père de l’artiste.
Peintre renommé de la scène belge, Marcel Berlanger inscrit ses peintures sur fibre de verre dans un espace tridimensionnel et dans une multiplicité de médiums. L’exposition CATALYST est le deuxième volet d’un cycle d’expositions (FIG.) qui questionne l’apparition de la figure chez cet artiste central en 4 propositions liées entre elles et en une publication commune : Emergent (Furnes, 2014), ikob (2015), Galerie Rodolphe Janssen (Bruxelles, 2016) BPS 22 (Charleroi, 2017).
ADRIEN LUCCA (artiste invité)
L’univers artistique d’Adrien Lucca cherche à inventer des façons de matérialiser des objets visuels formulées dans le langage scientifique de la théorie de la couleur.
« Je m’intéresse – mais pas seulement – à la question de savoir comment, à l’aide de mesures physiques et colorimétriques précises et dans un environnement contrôlé, il est possible d’implémenter un « logiciel » qui prenne effet directement sur le champ visuel d’un observateur. » (Adrien Lucca)
http://www.ikob.be Horaires d’ouverture: Mer. – Dim. 13.00 – 18.00
Situé à une demie heure de Liège, l’ikob occupe un bâtiment industriel original dans la partie germanophone de la Belgique. Plateforme discursive consacrée à la scène émergente de l’art contemporain, le musée appréhende, au travers de son programme d’expositions pluridisciplinaires et thématiques, des questionnements critiques et sociopolitiques et déploie une réflexion sur la question des frontières.