|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
INTRO / In 1995, the Jean-Dominique Fleury studio was selected by the Archbishop of Paris for a stained glass project in the 15th arrondissement. The site is the contemporary church of Notre-Dame de l'Arche d'Alliance which was built from plans by the Architectuau Pop Art, |
aura en charge la conception artistique de l’ouvrage.Ici encore, le vitrail est intimement lié à l’architecture. Il s’inscrit dans sa structure, il en révèle les lignes. Il est ce par quoi l’espace prend sa respiration poétique et s’ajoute un langage de lumière. Figuratifs et colorés, ses motifs évoquent certains épisodes de l’histoire biblique. |
THE TECHNIQUE / In theory and in practice, the techniques involved in producing pieces of structural stained glass require much research. The glass is adapted to fit the dimensions of the work and the desires of the artist whilst bearing in mind physical constraints and aesthetic implications. The procedures employed at the Church of Notre Dame de l’Arche d'Alliance were for the most part borrowed from graphic design methods. The initial drawings were enlarged and then pixelated with the aid of a computer. From this, stencils were created and placed on the glass before acid was used to attack the surface. |
In this way, only the desired colours remained on the surface. In order to successfully complete such a project, experience, patience and unerring skills are absolutely necessary. Two years work were needed from the moment of conception to the installation of the stained glass windows in order to achieve a result which has been much celebrated by numerous specialists. |