ABE couture AH 17-18 Collection

Autumn-Winter 2017-18 “Past to Present” Collection

Everyone has to make their place their own. In a vital quest for creation, I came to train in glassworking with a blowtorch, obtaining the Ateliers d’Arts de France label in 2014. This involves working with molten glass, giving it shapes, colors and effects through perpetual movement, aiming to master both its viscous and solid states. I associate the sensitivity of this work with that of the violin, which has no reference points and allows great freedom of interpretation and expression. In order to give my art its full dimension, I decided to accompany my glass pieces with a case respecting my personal and intimate universe. I have therefore integrated metal work, and brass in particular, to create more demanding and accomplished pieces as I conceptualize them. By sawing, twisting and soldering metal, I give my glass pieces a new dimension. The brass meshes are attached one by one, allowing the ornaments to be worked like textile pieces, taking on any shape or size. The metal stamps give structure and an antique look that is close to my heart. I set myself no limits and experiment with any technique or craft that might serve and enhance my work as a glass artist, such as featherwork, which is very present in my work.

I’ ve been self-taught since early childhood, and my thirst for discovery and my curiosity have led me to experiment with all kinds of art, which was my very first intimate form of expression. The perfection of certain works of art commands my admiration; I’m transcended by freedom of expression, and obsessed by beauty for its unifying power.

Somewhat like a rebirth, but also like a coherent sequence, my life presented itself as an initiatory journey that would lead me to my rightful place as a glass artist and jeweler.

Like MANY of my peers, my aim is to apprehend the world, to restore a certain vision of its beauty and poetry through my creations. The process is at once an introspection, a rereading and a prismatic rendering of all that surrounds us.

In contrast to the madness of an ever more efficient, hectic life, with its ever-increasing output, my work takes its place in time, according to events and feelings linked to everything that touches me closely or remotely, and is only finished when it has found its meaning. Once all the pieces have been assembled, this work can represent anywhere from thirty to several hundred hours per creation.

NOT AT ALL at the end of this introspective work, I call upon personal memories, flavors, childhood impressions, using codes from the past, revisiting them and giving them a new interpretation in order to give them a form of modernity and eternity. I hope to give substance to this very conceptual aspect of beauty, of the eternity of abstract notions that I present through a subjective rereading of existence.

It was from these reflections that the collection

“Past to Present…