This book was designed by Ryazanova Anna
FLAVIE AUDI
1986 Born in Paris. 2010 Graduated from the Architectural Association, RIBA Part II, London. 2014 Graduated from the Royal College of Arts, MA ceramics and glass, London. Audi’s practice finds its point of departure within the manipulation of glass. Glass plays a crucial part, for the artist, in contemplating a speculative utopian future world where humans create cosmic fragments and new types of landscape formations. Using the physical properties of glass, Flavie highlights the duality between the real and virtual worlds. Through its omnipresence in nearly all contemporary forms of digital devices, glass becomes a signifier of the tension between the realms of the tangible and the digital, as well as a facilitator of the disappearance of physical objects.
BIO
CONTENT
1. WORKS
1.0 LCD 1.1 Gemscape 1.2 Fluid Rock 1.3 Piece of Sky 1.4 Trapped Ethe
21 33 41 56 73
2. EXIBITIONS
2.0 Collaboration with Kirill Burlov 2.1 WEHE 2.2 Sub 2.3 Fire!
100 110 116 122
Vertical rectangle
Horizontal rectangle
Square
ะกircle
Gemscape 3 — 2017 glass, pu resin, jesmonite, digital print
SUB-17_41_17 — 2018 Digital C Type Print
LCD 1 (Lithic Crystalline Deposit) 2016
Gemscape 3 — 2017 glass, pu resin, jesmonite, digital print
SHAPES
Fluid Rock 20 — 2016. Glass, fine gold, fine silver, 15 × 16 × 16 cm. *The real size image
SIZE
Gemscape 2 120 × 60 × 15 cm
LCD 2 (Lithic Crystalline Deposit) 84 × 65 cm
Fluid rock 27 25 × 25 × 22 cm
*Fluid Rock 20 15 × 16 × 16 cm
SUB-.17_01_08 — 40 × 22.5 cm
Piece of Sky 2 47 × 23 × 14 cm
Gemscape 2 — 2017 glass, pu resin, jesmonite, digital print
LCD 3 (Lithic Crystalline Deposit) — 2016 dichroic glass, aluminium
Fluid Rock 41 — 2019 glass
*Fluid Rock 20 — 2016 glass, fine gold
SUB-.17_01_08 — 2018 Digital C Type Print
Gemscape 1 — 2016 artificialmarble,acrylic paint, oil paint, stones
1. WORKS
1.0 LCD
LCD (Lithic Crystalline Deposit) employs glass to bridge the physical and virtual worlds. Recalling the iridescent surface of an oil or chemical spill, the piece exudes a toxic, mystifying beauty, perhaps creating the conditions out of which a new utopian material future may arise.[2]
“Enhance the mystery of our world through her search for the sublime. However what has always mattered to me has been to create works that have powerful spatial dimensions for me an architectural gesture or a work of art are both about making space. The sense of infinite depth of space while diving in the meditative works of heroes you should be.”[3] ”I’m extremely seduced by the phenomenon of simplicity and clarity.”[4] 16
18
20
LCD 3 (Lithic Crystalline Deposit), 2016[5]
“Enhance the mystery of our world through her search for the sublime. However what has always mattered to me has been to create works that have powerful spatial dimensions for me an architectural gesture or a work of art are both about making space. The sense of infinite depth of space while diving in the meditative works of heroes you should be.”[6] ”I’m extremely seduced by the phenomenon of simplicity and clarity.”[7] 22
LCD 4 (Lithic Crystalline Deposit) 2016[8]
LCD 5 (Lithic Crystalline Deposit) 2017[9]
LCD 1 (Lithic Crystalline Deposit), 2016[10]
1.1 GEMSCAPE
Gemscape brings together synthetic and natural materials to represent a fragment of an imagined planetary landscape. This seamless combination of real and artificial materials. It invites the viewer to ponder the relative merits of each.[11]
“Gemscape is a wall-mounted sculpture that brings together synthetic and natural materials. In an era of technological innovation that has seen the creation of flawless, synthetic diamonds, undetectable by man or machine, the work questions the eclipse of real.“[12] “These almost look like MacBook computer screens.”[13] “As well as resembling landscapes. I have things floating in the skies that look like northern lights, but were created digitally. I’m interested in the landscapes of the future, which might be made artificially.”[14] 28
Gemscape 5, 2017 [15]
�An idea can sudden, appe an unconscio in the mind, happen very 34
n be very earing from ous link or it can y slowly�
Gemscape 4, 2017 [16] 36
Gemscape 1, 2016 [17]
1.2 FLUID ROCK
Flavie Audi upends ideas of both geology and glass with her sculptural series, Fluid Rocks. Audi renders blown glass not into rigid, delicate vessels but instead turns the material into colorful translucent blobs with quivering surfaces.[18]
“The Fluid Rocks always have a sense of energy and look as though they are in movement.”[19] “I use liquidity to give a sense of life.”[20] Flavie Audi The Fluid Rocks consist of a mixture of blown glass, color pigments and semi-precious metals such as gold and silver: “The Fluid Rocks always have a sense of energy and look as though they are in movement.”[21] “I use liquidity to give a sense of life.”[22] 40
Fluid Rock 41, 2019[23]
Flavie Audi The Fluid Rocks consist of a mixture of blown glass, color pigments and semi-precious metals such as gold and silver: �When these elements join, they trigger chemical reactions that are only partially controllable. I shape the objects themselves without a die, I model the glass by hand as long as it is warm. This creates unique shapes that are not reproducible. The haptic experience plays a crucial role. In other work, for example, I used CNC machines and molds to create digitally generated textures. Sometimes I also work with layers or print directly on the material. I encourage visitors to my exhibitions to touch the surfaces so that they can feel their dynamism. Visually, your objects appear so lively, especially because of their iridescent colors.�[24] 46
Fluid Rock 37, 2018 [25]
Fluid Rock 46, 2019[26] 48
Fluid Rock 11, 2016[27]
50
1.3 PIECE OF SKY
A series of works Pieces of Sky was created over several years (2014 — 2019). Materials used: glass, fine silver, fine gold, concrete, steel.[28]
”They are 20 to 25 kilo for 25 house non-stop whether the glass is hot requiring tree to four glass makers and i really put the glass makers to their physical limits.”[29] ”The titles describes fragments of futurist landscapes and utopians forms of geologies. I try to reveal energy and a sense of life. Life is this constant flux of movement and energy. This plasma and fluidity surrounds us from micro to macro scale. Moments are never static always a formation of something. It is this instant of energy occurring in the material itself or process which I try to materialise in the work. Its about revealing the contemporary quality of the material. During the moment of transformation there are a lot of decisions to be taken but somehow I try to make decisions that express a sense of freedom.”[30] 52
54
56
Piece of Sky 6, 2014[31]
�The work in very much d energy in the and the pote of glass to ex 58
n glass is driven by the e material ential xpress life�
Piece of Sky 12, 2015[32] 60
Piece of Sky 13, 2019[33]
62
1.4 TRAPPED ETHER
A series of works Trapped Ether was created in 2014. In the creation of this work were used such materials as glass, fine silver, fine gold, concrete, steel.[34]
”I believe that an architectural gesture and a work of art are both about making space. In a dematerialized world where all is virtual or mass produced, I believe there is a desire to return to some kind of materiality. I embrace simplicity and directness as a positive practice. Reduction and Distillation down to the essentials are fundamental in order to reconstruct, challenge and twist rebelliously conventional rules. By setting up an intimate relationship with materials, a sense of sensuality and life could be expressed. I look for hidden potentials, accidents and discoveries in materials to reveal aesthetical and technical qualities. My interests lie in creating experiences of mystery with spatial and visual encounters that invite”[35] 64
66
68
Trapped Ether 13, 2014[36]
�It is about l attentively t intuition, an when ideas a 70
listening to my nd hearing arrive.�
Trapped Ether 8, 2014[37]
Trapped Ether 12, 2014[38]
2. EX
XHIBITIONS
2.0 Collabor
ration with Kirill Burlov
The latest video collaboration SUB-, by Flavie Audi X Samantha Lee exploring the physical materiality of the screen and how daily interactions are increasingly happening on surface level. Paresented as a multi-screen installation, viewers travel above, inside and below an iridescent slurry of prismatic matter as if experiencing an osmosis between virtual and real.[39]
82
84
2.1 WEHE
Ather Gallery is delighted to announce the exhibition WEHE, curated by Nicolas Bellavance-Lecompte, for a first collaboration with the gallery. Bellavance-Lecompte is the co-founder of Carwan Gallery (Beirut) and Nomad Design and Art Fair (Monaco, St Moritz and Venice) and has recently been appointed the Artistic Director of the Bronze Foundry Battaglia in Milan.[40]
90
92
2.2 Sub -
Flavie Audi and Samantha Lee are pleased to present their latest video collaboration SUB-, exploring the physical materiality of the screen and how daily interactions are increasingly happening on surface level. Presented as a multi screen installation, viewers travel above, inside and below an iridescent slurry of prismatic matter as if experiencing an osmosis between virtual and real.[41]
96
98
2.3 FIRE!
“Fire!� is an ebullient if overly familiar survey of sculptures and vessels in glazed ceramics and sometimes glass that has been organized by Michaela de Pury and her husband, Simon de Pury, the former chairman and chief auctioneer of Phillips de Pury & Company.[42]
[1] flavieaudi.com LCD 4 (Lithic Crystalline Deposit) — 2017, dichroic glass, aluminium, 85 × 65 cm
[8] flavieaudi.com LCD 1 (Lithic Crystalline Deposit) — 2016, dichroic glass, aluminium, 34 × 34 cm
[2] newglassnow.cmog.org Author: Lipman, Beth
[9] flavieaudi.com Gemscape 5 — 2017 glass, pu resin, 20 × 60 × 15 cm
[3] aaschool.ac.uk Flavie Audi, AA Diploma 2011 [4] aaschool.ac.uk Flavie Audi, AA Diploma 2011 [5] flavieaudi.com LCD 5 (Lithic crystalline Deposit) — 2017, dichroic glass, aluminium 50 × 50 × 3.5 cm [6] aaschool.ac.uk Flavie Audi, AA Diploma 2011 [7] aaschool.ac.uk Flavie Audi, AA Diploma 2011
[10] koozarch.com Art documentation by Todd-White [11] artdaily.cc Art Daily magazine [12] flavieaudi.com Author: Sophy Grimshaw [13] flavieaudi.com Fluid Rock 46 — 2019 glass [14] flavieaudi.com Gemscape 4 — 2017 glass, pu resin, jesmonite, digital print, 120 × 60 × 15 cm
[15] flavieaudi.com Fluid Rock 37 — 2018 glass, dichroic extracts
[23] flavieaudi.com Fluid Rock 41 — 2019 glass
[16] thisiscolossal.com Author: Laura Staugaitis
[24] flavieaudi.com Fluid Rock 33 — 2018 glass, 23 × 20 × 20 cm
[17] flavieaudi.com Author: Sophy Grimshaw [18] flavieaudi.com Author: Sophy Grimshaw
[25] flavieaudi.com Fluid Rock 11 — 2016 glass, fine gold, 16 × 16 × 18 cm
[19] flavieaudi.com Fluid Rock 46 — 2019 glass
[26] flavieaudi.com Fluid Rock 42 — 2019 glass, dichroic extracts
[20] flavieaudi.com Alape magazine
[27] flavieaudi.com Piece of Sky 13 — 2019 glass, fine silver , 40 × 21 × 7 cm
[21] fadmagazine.com Author: Mark Westall [22] flavieaudi.com Fluid Rock 31 — 2017 glass, dichroic extracts , 28 × 25 × 25 cm
[28] flavieaudi.com [29] aaschool.ac.uk Flavie Audi, AA Diploma 2011
LINKS
[30] flavieaudi.com Piece of Sky 12 — 2015 glass, fine gold, fine silver, concrete [31] aschool.ac.uk Flavie Audi, AA Diploma 2011 [32] fadmagazine.com Author: Mark Westall [33] flavieaudi.com Piece of Sky 6 — 2014 glass, fine gold, fine silver, steel, 45 × 22.5 × 12 cm [34] flavieaudi.com Trapped Ether 16 — 2014 glass [35] flavieaudi.com Trapped Ether 15 — 2014 glass, fine silver, steel, 27 × 28 × 8 cm [36] aaschool.ac
[37] fadmagazine.com Author: Mark Westall [38] flavieaudi.com Trapped Ether 12 — 2014 glass, 29 × 29 × 19 cm [39] flavieaudi.com Trapped Ether 13 — 2014 glass, 30 × 30 × 17 cm [40] flavieaudi.com Trapped Ether 8 — 2014 glass, fine gold, fine silver, steel, 29 × 27 × 7 cm [41] flavieaudi.com Trapped Ether 7 — 2014 glass, fine gold, steel, 29.5 × 27.5 × 4 cm [42] flavieaudi.com Trapped Ether 2 — 2014 glass, steel, 36.5 × 24 × 9 cm
[43] flavieaudi.com [44] athrart.com [45] flavieaudi.com Solo Show in collaboration with Samantha Lee & Kirill Burlov, London 25.02.2018 - 08.03.2018 [46] nytimes.com The New York Times Author: Roberta Smith