Motivated by the desire to move away from the traditional aesthetic aspects of glass crafts, mainly the utilitarian function, the bright colours and the technical prowess, I greatly refined the presentation of my works. Instead, I focused on what fascinates me the most about glass; its intimate relationship with light, and it is with this in mind that film photography techniques and the wet collodion process have become essential in my work over the past few years. My creation begins during the hot shaping of the glass pieces by deliberately causing cold marks giving a wavy appearance on its surface. These handcrafted glass pieces are introduced as a support for an ancestral photographic technique, wet collodion, which makes it possible to transform glass into a photosensitive support. Besides the textured effect of the glass itself on the piece, we can see in transparency a portrait or a piece of landscape. Some of these pieces of glass will serve as subjects for photograms by placing them directly under the enlarger in the darkroom, and it is then the moment when the dynamic wave of light crosses the immobility of the glass that the principle of Li manifests itself on the photosensitive support. According to this more poetic vision of nature, the Li are dynamic formations giving the impression of a frozen moment through a process in which the principle of energy engages with the form.
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