Chercher à effacer la lumière
Chercher à effacer la lumière is a research project made possible thanks to the support of the Conseil des arts de Longueuil.
In collaboration with Guy Loyer, a glass artist by trade, and access to the specialized equipment of the Verre Design studio (St-Pie, Qc.), I am learning about glass working to explore the potential of this creative material in sculpture.
My interest in glass comes from a studio experiment where I used a pile of plastic and glass with the intention of altering the passage of light. My interest in these materials resided in the shadows that could be generated according to the properties of each one. I had placed each piece of plastic and glass on its edge, i.e. on the narrow side corresponding to its contour. From this process, I was able to not only to transcribe the singular materiality to each piece of plastic and glass, but also to record the trace of a refraction of light that hits the edge of each piece (see project Les choses douces - c).
I then understood that it is not a question of a material being transparent that will reduce the quality of its presence. Transparency is not synonymous with invisibility ⎯ and within this resides the artistic potential of glass for me.
In parallel to what is happening at the studio, the issue of transparency is quite popular politically and socially. Transparency is a term widely used to give authenticity to statements and to distinguish their value in relation to others. So many debates steer the news and I can no longer count the amount of times when the word transparency is used. I am not so curious to know whether the information is truthful or not. I question the system and mechanisms that touch me personally and tend to convince me. The loss of one's interlocutor through the discussion of insignificant points or the voluntary withholding of information are some indications of the presence of instrumentalization.
The devices or mechanisms are part of an methodology from which I developed this research. With my project, the objective is to attempt to erase the light that passes through the glass. Not "erase" in the sense of eliminating, but in the sense of blurring to create a dysfunction. My theory is that through the exploration of formulas and methods of glass making (some unconventional), I will, on the one hand, influence the ability of glass to let light through without losing any transparency, and, on the other hand, give rise to boundary states of the material so that the memory of a process of transformation is formally inscribed.