Procédure matériaux : a week of workshops

Denis Laget, painter, lecturer at ESADSE, member of the LEM laboratory

The screen was one of decorative furniture items that particularly appealed to the members of the Arts & Crafts movement, alongside decorative overdoors, posts and panels. This interest was also shared at the same time by the Nabis group in France and Pierre Bonnard in particular, who made screens featuring multiple lithographs. A furniture piece hinged, we might say, between sculpture and painting, the screen is an invitation to create patterns and repeat them.

Sandrine Binoux, photographer, in charge of the photography department at ESADSE, member of the IRD laboratory
Jean-Philippe Julien, head of the modelling department at ESADSE, associate member of the Spacetelling research team

Primitive photography: overexposure, unsharp images, off-centering, smearing, the idea is to reconnect with the direct materiality of the photographic image, a trend that runs counter to the modern digital image, the ephemeral image constantly in flux that can be exchanged in seconds, but easily gets lost in the nebulous realms of a Cloud. Far removed from "fast photography", here the notion of the photographic timescale will be revisited.

Amine Asselman, artist, lecturer at the National Institute of Fine Arts of Tetouan
Elen Gavillet, designer, professor at ESADSE, member of the Object Lab
Michel Lepetitdidier, graphic designer and lecturer at ESADSE
Camille Corlieu-Maezaki , professor at ESADSE
Coralie Marchal, production manager at the Émaux de Longwy enamel factory
Susana Piteira, artist, lecturer at the Faculty of Fine Arts at the University of Porto (FBAU)
Vincent Rivory, head of the ceramics workshop at ESADSE

The Manufacture des Émaux de Longwy has been continually applying its unique know-how since 1798. The outlines of the decoration of a piece are drawn in black ink on the biscuit (unglazed, white porcelain), and these will contain the colours, preventing them from running into each other. This method of drawing to structure and limit the spread of the colour is not unlike another applied arts technique, stained glass. Each cell formed by the ink lines is hand-filled with enamel in one movement. The drop of enamel dries almost immediately in contact with the biscuit. Once the piece has been completely enamelled, it is then fired at 750°C for several hours. Sometimes the piece will be retouched and will require a second firing at 750°C.

Cécile Van Der Haegen, textile technician at ESADSE

Rug tufting is a craft technique that consists of inserting wool threads into a canvas, following a pre-drawn pattern, using a tufting gun. This method comes from Georgia in the United States and was invented by carpet manufacturers. It is the fastest method of creating rugs, whilst allowing the craftsperson to vary textures and thicknesses to create all kinds of different items.

Marie-Aurore Stiker-Metral, designer, lecturer at ESADSE, member of the Object Lab
Bertrand Mathevet, technician in the modelling department at ESADSE, associate member of the Spacetelling research team
Kristyna Spanihelova, artist, lecturer at the Royal Academy of Fine Arts in Brussels (ArBA)
With the participation of the Ateliers & Conservatoire des Meilleurs Ouvriers de France

This workshop will explore several jewellery making techniques such as cutting, hammering, wire drawing and rolling. A whole range of tools and techniques are used to produce the different parts of an item of jewellery, which are then perforated, pierced and stamped before being assembled and soldered using a jeweller's blow torch. The workshop will also be experimenting with techniques for casting zamak (an alloy of zinc, aluminium, magnesium and copper) using sand foundry moulds.

Loïc Bonche, PhD student at the University of Quebec in Montreal (UQAM) in partnership with ESADSE
 
The Javanese word "batik" refers to a resist dyeing technique widely used in Africa, China and South-East Asia. This is a technique that lends itself to new explorations of what a cloth has to offer from a perspective that mixes craft traditions and contemporary textile production. Nembok is a specifically Indonesian variation, and its process is inscribed on the UNESCO list of intangible cultural heritage. Hand gestures are at the heart of the technique, revealed first in the wax and then again when the fabric is dyed.

Juliette Fontaine, head of the publishing & printing department at ESADSE, member of the IRD laboratory
Cyril Bihain, artist and lecturer at the Royal Academy of Fine Arts in Brussels (ArBA)
Graciela Machado, professor at the Faculty of Fine Arts at the University of Porto (FBAU)
With the participation of Michael Woolworth, printer and publisher

Lithography is a method of reproducing images that was first developed in the 18th century. The technique involves drawing an image on a stone with a greasy ink and then transferring onto paper using a press. The process is too often considered cumbersome and demanding, but innovations borne of collaborative experiments carried out in Porto, Brussels and Saint-Étienne have developed a nomadic approach to lithography.