Emmanuel R\u00e9gent<\/a> immersed himself in the unique atmosphere of the Cristallerie Saint-Louis in Moselle, accompanied by Michel Blazy, his sponsor. He worked on two projects that required extensive experimentation. One, the Himmelsturz series, in homage to the flamboyant skies of the Moselle, perpetuates a series of watercolors initiated in his studio and allowed chance to interfere in the intimacy of the kiln to bring out the final mix of colors.<\/p>\n\n\n\nThe other, The Shipwreck of Hope, which is based on the famous painting The Sea of Ice by Caspar David Friedrich (1774-1840) in 1824, was created through a process of digital deconstruction of the work, which then allowed for a volume interpretation by the artist.<\/p>\n\n\n\n
\u00abJ\u2019aime l\u2019opposition entre les deux projets, car Le Naufrage de l\u2019Esp\u00e9rance est vraiment un projet pens\u00e9 au millim\u00e8tre pr\u00e8s, tandis que les \u201cciels de Saint-Louis\u201d sont livr\u00e9s \u00e0 l\u2019al\u00e9atoire. Pour Le Naufrage de l\u2019Esp\u00e9rance, je suis simplement parti du c\u00e9l\u00e8bre tableau La Mer de glace peint en 1824 par Caspar David Friedrich, pour lequel j\u2019ai cherch\u00e9 \u00e0 cr\u00e9er la profondeur des volumes de glace, en cristal. L\u2019id\u00e9e \u00e9tait de penser toute la troisi\u00e8me dimension d\u2019un tableau avec l\u2019aide des nouvelles technologies et d\u2019exp\u00e9rimenter la fa\u00e7on dont l\u2019outil informatique peut nous aider \u00e0 acc\u00e9der \u00e0 cet espace \u201cimpossible\u201d de la peinture.”<\/p>\n\n\n\n
(“I like the opposition between the two projects, because The Shipwreck of Hope is really a project thought out to the millimeter, while the “skies of St. Louis” are delivered at random. For The Shipwreck of Hope, I simply started from the famous painting The Sea of Ice painted in 1824 by Caspar David Friedrich, for which I sought to create the depth of the volumes of ice, in crystal. The idea was to think the whole third dimension of a painting with the help of new technologies and to experiment with how the computer tool can help us access this ‘impossible’ space of painting.”)<\/p>\n","protected":false},"excerpt":{"rendered":"
The Fondation d’entreprise Herm\u00e8s and the Magasins g\u00e9n\u00e9raux present the exhibition “Formes du transfert” which brings together the visual artists who participated, between 2010 and 2020, in the Artists’ Residency program in the Herm\u00e8s factories\u2026 From November 2018 to March 2019, Emmanuel R\u00e9gent immersed himself in the unique atmosphere of the Cristallerie Saint-Louis in Moselle, […]<\/p>\n","protected":false},"author":6,"featured_media":6289,"template":"","categories":[],"tags":[],"class_list":["post-6185","event","type-event","status-publish","has-post-thumbnail","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.espace-avendre.com\/en\/wp-json\/wp\/v2\/event\/6185","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.espace-avendre.com\/en\/wp-json\/wp\/v2\/event"}],"about":[{"href":"https:\/\/www.espace-avendre.com\/en\/wp-json\/wp\/v2\/types\/event"}],"author":[{"embeddable":true,"href":"https:\/\/www.espace-avendre.com\/en\/wp-json\/wp\/v2\/users\/6"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.espace-avendre.com\/en\/wp-json\/wp\/v2\/media\/6289"}],"wp:attachment":[{"href":"https:\/\/www.espace-avendre.com\/en\/wp-json\/wp\/v2\/media?parent=6185"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.espace-avendre.com\/en\/wp-json\/wp\/v2\/categories?post=6185"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.espace-avendre.com\/en\/wp-json\/wp\/v2\/tags?post=6185"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}