FLEUR ELECTRONIQUE | TRANSCONTINENTAL TELESCULPTURE & TELEGRAVURE a performance by Christian Lavigne between Fort-De-France and Paris commissioned by The Martinique Chamber Of Commerce and Industry for SICOM trade fair, October, 22-26, 1996 with the contribution of Alexandre Vitkine (Ars Mathématica) and CREATE Lab. (école Centrale) |
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VERS LA PROCHAINE ETOILE |
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And also 2 ingravings, created with the help of the public.
These pieces have been numericaly sent up by Internet to stereolithographic or 3-axes NC devices in Ecole Centrale de Paris, where
Olivier Dionigi and Alexandre Vitkine have materialized it.
CHAMBRE SECRETE |
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Except the biblical religions which recognize History as the major manifestation of the divinity, a theophany leading to the world's end (escatology), most human beliefs consider the universe as an eternal reccurence, periodically threatend by return to chaos.
Thus, those who do not care for History, want to preserve the great cosmic cycles and to restore its impulse to Nature. Therefore, at certain dates of the year, at cettain solemn occasions, they reproduce the primeval gestures of their ancestors or their divinities, the gestures which create a new life, always restarting.
The symbolics of the World's Restoration ceremonies are frankly sexual : fire, rain, sperm, soil, etc., are elements meant to defeat the darkness and the sterelity which threaten the universe.
My work is a poetic interpretation of this mythology.
The basic figure is a drop on a splayed support, an allusion to the impregnating element and its receiving matrix.
The second figure is the same shape, crossed by spirals inclined at an angle chosen at random by my beloved.
The third figure is crossed by lightnings inclined at an angle chosen by myself.
Using robosculpture and telesculpture, one of these pieces was be realized in stereolithography by PARANGON (Pierre Auffret, Chairman). Other pieces was created at Ecole Centrale de Paris by Arthur Mofakhami, with the help of CIBA-GEIGY (Ed Clark / Market Director / USA). Then, this triptyque was cast in aluminum by CHATEAUROUX FONDERIES: thanks to M. Bailly and to M. Beillonnet.
Through the Internet 3D FAX ART SITE, which our colleague Stewart Dickson has created after the experiences of INTERSCULPT 95 , the triptyque was planed to be produced simultaneously in Paris, in the USA and in Australia, on occasion of the 16th International Sculpture Conference (early June 96 in Providence R.I. USA).
Ideally produced in the following way : one of the three figures of the triptyque is twice the size of the two others: in Paris it is the basic figure ; in the USA the figure which is crossed by ligthnings ; in Australia the figure which is crossed by spirals.
This experience was canceled for lack of sponsoring.
aluminum triptyque
[ 3D picture ]
Tabapot, c'est le vide, le creux. L'homme est un Tabapot: le vide en lui le rend toujours insatisfait. Tabapot est toujours changeant. Il centre l'homme sur son être vrai et le disperse en expressions multiples ".
Apisai Enos, universitaire et poète de Papouasie Nouvelle-Guinée, traduction Roselène Dousset-Leenhardt.
TABAPOT DE L'OEUF is a work inspired by a papuan concept, concept explained by the writer Apisai Enos as a vacuum space, a hole, a breach. Here I made a poetic interpretation of this universal idea of "receptacle" or "gathering place". My first work on this concept use the "primordial egg" theme. I intend to create other pieces inspired by the Tabapot.
La société suisse RPC, spécialisée dans les résines stéréolithographiques, m'a permis de matérialiser cette oeuvre compliquée, avec une précision et un résultat à la hauteur de mes espérances. Je l'en remercie vivement.
" L’équipe de RPC est fière d’avoir eu le droit de réaliser cette magnifique oeuvre d’art avec une des résines RPCure pour la stéréolithographie. Ces résines ont évidemment été développée pour des applications techniques. Mais cette sculpture d’une forme compliquée et exigeante peut seulement être réalisée avec les meilleurs matériaux qui existent sur le marché.
Les surfaces planes, suspendues seulement à quelques points demandent une grande rigidité et stabilité de la forme, qui sont difficiles à atteindre avec les résines stéréolithographiques.
En outre, le grand volume clos et les «bras» rentrant dans l’oeuf posent des problèmes pendant la fabrication dans la machine qui ne sont pas triviaux Donc, cette oeuvre d’art est une pièce aussi ou même plus exigeante que des pièces industrielles, et un défi pour chaque bureau de stéréolithographie. "
L'équipe de RPC.