Draft for a glass painting
Draft for a glass painting
3 exhibitions in a row at ETE78, rue de l’été n°78, 1050 Brussels!
Vernissage Feb. 18th from 4PM to 8PM
This gives you an idea of how I work. Every operation is the result of hundreds lines of code, but the logic is pretty simple. We have a quasiperiodic cristal made of triangles and we detect regular shapes (squares, diamonds, octogons, 6-gons, etc.). This creates a pattern that’s later gonna be made of little glass pieces.
Each unique shape that makes the map from the previous post. Total 173 unique shapes, 299 glass pieces.
A paper model with “scanned” and calculated colors for the blue sky behind…
Below, the left one simulates a cloudy sky, the right one the blue sky
This is the design made by something like 5000 lines of code in Python 2.7 ;)
Current exhibition at LEVY.DELVAL, Brussels, BE
Photos Courtesy of LEVY.DELVAL
Everything’s hand-applied paint on paper, soon a big picture !
Experimental studies with colour and light
As I see it, an experiment means precise physical actions set in accordance with a theory that describe their interaction. These actions refer to a question or to a hypothetic result, embedded inside the setup. An experiment requires a theory, a modus operandi, a setup, and a hypothesis.
My “cup of tea” is to make visual experiments with a scientific method. By studying the physics of coloured materials and lights, I invent ways to materialize abstract objects – or mathematical “concepts” of visual objects – without knowing in advance how the outcome will look.
As a way of working that generates otherwise impossible results, can inventing a process of “making” be, but a technical issue, an artistic research per se? Could my personal interest in physics, computer programming, digital printing, and painting become instruments for making visual experiences in a way that hasn’t been tried yet?
Traditional painting – as well as print-making – often ignore the light parameter: of course, a material picture is always the result of the illumination of coloured materials, but this very aspect is not much taken into account, and not studied for itself. The physical measurement of lights and coloured materials allow me to predict their interaction and thus, allow me to work on colour-perception with an original approach: I investigate how to “paint with lights plus paints.”
So far, I focused on creating a methodology, and the tools for an original visual language where the interaction between colours and light is key. In this context, I realized several series of studies and installation prototypes where I accumulated sets of experiments:
– Colorimetric pictures series, 2014 – the latest works, printed
– D65 series, 2011-2014 – hand-made paintings on paper
– Light Transformer prototypes, 2010-2014 – installations
The common specificity of each series is that they were attempts to formulate visual objects in a modern scientific language of colour theory. These attempts have been my first step toward an artistic medium that blends light and coloured materials in a single form.
Adrien Lucca, Oct. 16, 2014
CLICK ON THE PICTURE TO ZOOM
I decided to change my system of titles.
Since the D65 studies start to have several pieces for each number (n°5.1, 5.2… 6.1, 6.2…) there will be a series number, refering to the type of research (or the ‘family’,) and a serial number starting with a sharp ‘#’
series 5 #2:
– I avoided most pencil traces
– Done in one week (absolute speed record, thanks to computer programming)
– Two new pigments: DPP Red (PR 254), and a Gofun-based Japanese Magenta from here: gofun
Maybe my most beautiful piece so far (?)