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Jul
16
20
Performance
Jérôme Bel's Solo for Maria Kochetkova The Joyce Theater 175 Eighth Avenue New York, NY 10011
Jul 16
Film
The 400 Blows Montgomery Ward Park 630 N. Kingsbury St. Chicago, IL 60606

Transatlantic Creative Exchange at Oui Design

Initiated in 2016 by the Cultural Services of the French Embassy and Wanted Design, Transatlantic Creative Exchange is a program that pairs French and American designers and manufacturers to explore new techniques and innovate boldly as a unified transatlantic design team.

The designer/manufacturer duos are selected based on overlapping interests, geographic diversity, and a desire to engage in creative collaboration. 2019 marks the third edition of the project.

Featuring :

Elyse Graham (US) & International Glass Art Center (CIAV) (FR)
Guillaume Delvigne (FR) & Neal Feay (US)
Philippe Nigro (FR) & Corning Museum of Glass, Glass Lab (US)
Rodolfo Agrella (US) & Procédés Chenel (FR)
 

Elyse Graham (US) & International Glass Art Center (CIAV) (FR)

Having never worked in glass, I was both eager and anxious to collaborate with CIAV. I proposed a project based on taking the experimental processes I use with resin—casting material in layers and then removing it from the exterior to reveal unexpected patterns of color. Translating this process to glass was especially intriguing to me as it would allow me to work with translucence and illumination, things I haven't been able to achieve with my resin work. I was incredibly impressed by the technical skill of the artisans at CIAV—they quickly and expertly executed my ideas and I struggled to keep up with their pace in the first days. As I watched, learned and began to understand the unique qualities of glass—both its assets and limitations—my confidence soared and my imagination exploded!
Elyse Graham
> www.elysegraham.com
> www.ciav-meisenthal.fr

Guillaume Delvigne (FR) & Neal Feay (US)

When I first met Alex Rasmussen from the Neal Feay company during one of his stays in Paris, I immediately felt his passion for design process and for aluminum. I never had the opportunity to work on a proper aluminum project before, so I was very enthusiastic about the idea to do it with such qualified people. Looking at the pieces Neal Feay is doing, I was quite impressed by the level of precision and detail they can reach with their tools. The quality of the anodized finish aspect is also very interesting, it can be very subtle and sensual. I wanted to work on something which allowed me to explore those two different aspects, technical and sensitive. Experimenting with texture and playing with a palette of deep dark and elegant colors, I have the feeling that we can bring something quite unseen.”
—Guillaume Delvigne
> www.guillaumedelvigne.com
> www.nealfeay.com

Philippe Nigro (FR) & Corning Museum of Glass, Glass Lab (US)

It is a good exercise to learn to free oneself from the constraints to give way to the unexpected and thus to create «free» objects. For this project which is concentrated on a short period of five days, it is necessary to play with this spirit of speed, of moment, even if the result gives objects, vases or cups, whose function is an excuse: it reverses the process for a designer who usually makes the function a priority. My experience with glass is so far rather European and the discovery of techniques and different ways to consider the work of glass through a different culture amplify my curiosity. The technique of glass is a physical work where the glass blower is really fitting with the material, the challenge is also to find my place as a Designer: how to find my place and orchestrate the live actions of these talented craftsmen?
—Philippe Nigro
> www.philippenigro.com
> www.cmog.org

Rodolfo Agrella (US) & Procédés Chenel (FR)

“The time spent at Procédés Chénel facilities in Vanves, at the peripheries of Paris, was an exceptional boost for my creation process, as well as a personal growth. It allowed me full immersion with their staff, recollecting immediate and honest information about their wonderful material, technologies and outstanding crafts abilities, but the must important piece of information was the history behind every patented creation, every folding technique, every centimeter of their “greenhouse” showroom.

Working side by side with the lovely staff, absorbing several decades of material knowledge expressed in a few words between French, English and lots of laughs, led me to have a total perspective shift regarding Procédés Chénel’s product. By manipulating their technology and crafting traditions while honoring the legacy of Mr. Chénel, we manifested an innovative, elegant and fun way to use paper as a volume-creator and color blocking material that supports a poetic concept..”
Rodolfo Agrella
> www.rodolfoagrella.com
> www.chenel.com

 

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