The many sides of glass: Flavie Audi at Tristan Hoare

If you ask me, there is nothing that rings in the holiday season more than brightly coloured things that shine. From tree ornaments to jewels to candlelight, Christmas is all about the sparkle, so now that it’s almost December I’d suggest running not walking to Tristan Hoare for their latest exhibition Cell-(estial), a collection of enchanting work by French-born Lebanese artist Flavie Audi.

Fluid Rock 19, 2016. Blown glass, gold, silver. Courtesy of the Artist and Tristan Hoare.

Audi is best known for her mouthwateringly beautiful gem-like glass sculptures, but for this exhibition she also includes photography and film as a means to investigate the points at which the natural and artificial worlds meet.

Fluid Rock 16, 2016. Blown glass, gold. Courtesy of the Artist and Tristan Hoare.


Glass is a naturally occurring, organic material, yet through its modern usage in mobile and TV screens it has taken on technological significance – as an interface through which real and virtual worlds are mediated – and it is this collision of realities that is at the heart of Audi’s practice. To explore how these realms interact, the show has been divided into two distinct installations, one representing the physical, the other digital, chaotic nature placed alongside the rational and man-made.

We are delighted to have had the opportunity to speak with Audi about this exhibition and her general practise.

Have a read below and then as previously mentioned, get to the gallery immediately!

ArtAttack: I see that you studied at the AA. Were you planning to pursue architecture at that point and if so, what changed your mind?

Flavie Audi: During my last year at the architectural association I was making models in glass and developed my thesis on structural glass. Since that moment I wanted to find out more about glass as well as my own language. I have been focussing on the sculptural potential of glass in my practice but I would love one day to translate my works into architecture and larger scale. I always think of the spatial dimension and impact of the work in space. And because of this I don’t think i am detached from architecture.

AA: Can you tell us a bit about the inspiration and process for these stunning, fluid, gem-like sculptures?

FA: The beginning of a project starts with a strong intuition about an idea. I investigate in material behaviours, tools and technologies to execute and materialise my ideas. I deconstruct the normal conventions of the process and create my own recipe to work with the materials. I try to see opportunities in the manipulation of materials where sensuality, a sense of life or could be expressed. I spend a lot of time experimenting until I discover qualities that could reveal moments of beauties. Once I find a moment of beauty that intrigues me I investigate deeper, finding ways to celebrate it.

Each project is different. An idea can be very sudden, appearing from an unconscious link in the mind, or it can happen very slowly and gradually. It is about listening attentively to my intuition, and hearing when ideas arrive. Sometimes I find inspiration in kinetic properties, particularly fluidity and energy. On other occasions inspiration comes from a sense of comfort, excitement or interest that I feel during an encounter or while drawing. The acts of drawing and making are my main inspirational refuge. I find my creative energy in a constant ebb and flow, between designing and making. Most of the times it comes from a feeling of nothingness.

AA: Any upcoming projects you can share with us?

FA: My next projects are furniture, a jewellery collaboration and a digital video work.

Fluid Rock 9, 2016. Blown glass, gold, silver. Courtesy of the Artist and Tristan Hoare.

– India Irving

Flavie Audi Cell-(estial) is on view at Tristan Hoare until 9th January, 2017; 6 Fitzroy Square, London, W1T 5HJ; Tuesday – Saturday 11AM-5:30PM; Admission: FREE



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