Céline Bachelot

My project, borned in former residencies in Cambridge-Boston and France, investigates the dialogue between glass, light, and sound through both natural and artificial means. By layering and engraving colored glass, I aim to generate a form of luminescence that can be further enhanced by programmed LED systems. These LEDs will be designed to respond to live music, producing a monumental and immersive scenographic experience where light becomes a living, reactive presence.

At the core of this research lies my wish to explore, in dialogue with Professor Michael Strano’s team at MIT, the potential of bioluminescent films applied to glass. Such materials could open new perspectives for sustainable and responsive lighting, while deepening the expressive possibilities of audio-reactive environments. Alongside this, I plan to pursue large-scale engraving at MassArt, drawing on its technical resources, while documenting historical approaches to layered glass at institutions such as the L.C.Tiffany and J.LaFarge collections.

My artistic motivation stems from a long-standing dialogue between light and music. Music’s ephemeral and incorruptible nature embodies for me a form of the sacred, and I seek to transpose this quality into works where glass and light respond to every vibration and note. The resulting interplay promises an experience of transcendence, merging visual and auditory harmonies.

The project is equally guided by an ethical commitment. For several years I have pursued alternatives to toxic practices in glassmaking, from developing a lead-free setting system to promoting cold-painting techniques. Today I continue this trajectory by researching engraving methods that may limit the use of hydrofluoric acid, one of the most hazardous substances in the field.

I would like to bring to light and life a monumental piece to end the residency with a performance with live music.

In Summer 2024, I spent two months in Somerville–Cambridge, in the Boston area, for a residency at the Linda Lichtman Studio. This experience revealed the city’s exceptional potential for an art-and-science approach to glass. Boston combines a rich cultural heritage, a vibrant artistic life, and the proximity of the ocean with the comfort of a major metropolis. Deeply committed to research, education, and cultural exchange, the city offers a space of openness and dialogue, countering the currents of withdrawal seen elsewhere. I aim to engage in this dynamic, collaborating in research and art, and contributing to innovative projects that inspire and captivate.

During my stay, I made two pivotal discoveries that have shaped my current work. First, hand engraving on rare hand-blown glass which allows me to “paint by engraving.” Second, the luminescent light of L. C.Tiffany’s stained glass, observed in double and triple layered compositions, producing effects reminiscent of science-fiction. These discoveries inspired a new approach: creating abstract landscapes using only the intrinsic properties of glass, without paint or lead exposure.

To explore large-scale engraving, I partnered with the MassArt’s glass department. I also aim to develop experimental collaborations with a research team at MIT and visit Haystack Mountain School of Crafts to enrich my approach.

Beyond the artistic work, I really liked Boston. Its historic streets, vibrant neighborhoods, and accessible natural escapes provide the perfect balance for focused creative exploration, and the autumnal colors of the region are stunning.