Cyrielle Gulacsy
156 x 118 cm
156 x 117 cm
140 x 107 cm
140 x 107 cm
100 x 120 cm
156 x 118 cm
180 x 150 cm
Signed, titled and dated at the back
180 x 150 cm
Signed, titled and dated at the back
180 x 150 cm
Signed, titled and dated at the back
180 x 150 cm
Signed, titled and dated at the back
180 x 150 cm
Signed, titled and dated at the back
40 x 60 cm
Signed, titled and dated at the back
Image: 39 x 53 cm each
Frame: 40 x 54 cm each
Since the emergence of the first particle, matter assembles itself thanks to light, forming increasingly complex objects, stars, galaxies, thus generating ever more light. Light is what links us to the cosmos, bringing us informations, from the origin of the known universe to the appearance of life. It turns out that life itself is among the most luminous objects the universe has produced. This idea, developed and calculated by the astrophysicist David Elbaz in his book “La plus belle ruse de la lumière” (“The most beautiful trick of light”) is at the origin of the “terrestrial light” series. In this series of photography, we can distinguish a multitude of bright dots distributed in space like the constellations of a starry night. But these light sources are much closer to us, on earth. This is the thermal signature of bees.
The heat they emit radiates as infrared light and is then captured by a thermal camera. Using the cyanotype technique developed by astronomer William Herschel in 1842 to print these photos, the invisible light from the bees' heat is made visible by the daylight needed for the cyanotype to reveal itself.
Human genius is sending increasingly sophisticated telescopes equipped with infrared cameras into deep space to observe extremely distant celestial objects, often invisible, moving away from us due to the expansion of the universe. In this series, the same infrared cameras are used to look this time in our close environment, objects which far from being invisible are however gradually disappearing from the field of our collective attention. This series marks a turning point in the work I was doing until now by introducing living being, while keeping exploring light. But this time, terrestrial light.
Image: 39 x 53 cm
Frame: 40 x 54 cm
Signed, titled, dated at the back
Since the emergence of the first particle, matter assembles itself thanks to light, forming increasingly complex objects, stars, galaxies, thus generating ever more light. Light is what links us to the cosmos, bringing us informations, from the origin of the known universe to the appearance of life. It turns out that life itself is among the most luminous objects the universe has produced. This idea, developed and calculated by the astrophysicist David Elbaz in his book “La plus belle ruse de la lumière” (“The most beautiful trick of light”) is at the origin of the “terrestrial light” series. In this series of photography, we can distinguish a multitude of bright dots distributed in space like the constellations of a starry night. But these light sources are much closer to us, on earth. This is the thermal signature of bees.
The heat they emit radiates as infrared light and is then captured by a thermal camera. Using the cyanotype technique developed by astronomer William Herschel in 1842 to print these photos, the invisible light from the bees' heat is made visible by the daylight needed for the cyanotype to reveal itself.
Human genius is sending increasingly sophisticated telescopes equipped with infrared cameras into deep space to observe extremely distant celestial objects, often invisible, moving away from us due to the expansion of the universe. In this series, the same infrared cameras are used to look this time in our close environment, objects which far from being invisible are however gradually disappearing from the field of our collective attention. This series marks a turning point in the work I was doing until now by introducing living being, while keeping exploring light. But this time, terrestrial light.
Image: 39 x 53 cm
Frame: 40 x 54 cm
Signed, titled, dated at the back
Since the emergence of the first particle, matter assembles itself thanks to light, forming increasingly complex objects, stars, galaxies, thus generating ever more light. Light is what links us to the cosmos, bringing us informations, from the origin of the known universe to the appearance of life. It turns out that life itself is among the most luminous objects the universe has produced. This idea, developed and calculated by the astrophysicist David Elbaz in his book “La plus belle ruse de la lumière” (“The most beautiful trick of light”) is at the origin of the “terrestrial light” series. In this series of photography, we can distinguish a multitude of bright dots distributed in space like the constellations of a starry night. But these light sources are much closer to us, on earth. This is the thermal signature of bees.
The heat they emit radiates as infrared light and is then captured by a thermal camera. Using the cyanotype technique developed by astronomer William Herschel in 1842 to print these photos, the invisible light from the bees' heat is made visible by the daylight needed for the cyanotype to reveal itself.
Human genius is sending increasingly sophisticated telescopes equipped with infrared cameras into deep space to observe extremely distant celestial objects, often invisible, moving away from us due to the expansion of the universe. In this series, the same infrared cameras are used to look this time in our close environment, objects which far from being invisible are however gradually disappearing from the field of our collective attention. This series marks a turning point in the work I was doing until now by introducing living being, while keeping exploring light. But this time, terrestrial light.
Image: 39 x 53 cm
Frame: 40 x 54 cm
Signed, titled, dated at the back
Since the emergence of the first particle, matter assembles itself thanks to light, forming increasingly complex objects, stars, galaxies, thus generating ever more light. Light is what links us to the cosmos, bringing us informations, from the origin of the known universe to the appearance of life. It turns out that life itself is among the most luminous objects the universe has produced. This idea, developed and calculated by the astrophysicist David Elbaz in his book “La plus belle ruse de la lumière” (“The most beautiful trick of light”) is at the origin of the “terrestrial light” series. In this series of photography, we can distinguish a multitude of bright dots distributed in space like the constellations of a starry night. But these light sources are much closer to us, on earth. This is the thermal signature of bees.
The heat they emit radiates as infrared light and is then captured by a thermal camera. Using the cyanotype technique developed by astronomer William Herschel in 1842 to print these photos, the invisible light from the bees' heat is made visible by the daylight needed for the cyanotype to reveal itself.
Human genius is sending increasingly sophisticated telescopes equipped with infrared cameras into deep space to observe extremely distant celestial objects, often invisible, moving away from us due to the expansion of the universe. In this series, the same infrared cameras are used to look this time in our close environment, objects which far from being invisible are however gradually disappearing from the field of our collective attention. This series marks a turning point in the work I was doing until now by introducing living being, while keeping exploring light. But this time, terrestrial light.
60 x 42,5 cm
Signed, titled, dated at the back
24,5 x 27 cm
Oak wood, metal base
141 x 45 cm
Signed and dated
Spacetime Warp is a set of wooden sculptures, which offer a metaphor of general relativity. The trees contain within them a very particular testimony of the passage of time. The distance formed between each ring during a specific lapse of time symbolizes a form of materialized space-time. By sculpting each piece of wood in the same way that stars bend space-time by their mass, Spacetime Warp operates a symbolic inversion between visible and invisible. The act of carving makes matter disappear and gives shape to emptiness. Space-time, through the patterns left by the rings becomes palpable and visible, as the star is guessed by the light that can be seen at the end of the cavity.
Oak wood, metal base
124 x 43 cm
Signed and dated
Spacetime Warp is a set of wooden sculptures, which offer a metaphor of general relativity. The trees contain within them a very particular testimony of the passage of time. The distance formed between each ring during a specific lapse of time symbolizes a form of materialized space-time. By sculpting each piece of wood in the same way that stars bend space-time by their mass, Spacetime Warp operates a symbolic inversion between visible and invisible. The act of carving makes matter disappear and gives shape to emptiness. Space-time, through the patterns left by the rings becomes palpable and visible, as the star is guessed by the light that can be seen at the end of the cavity.
Variable dimensions
Time Warp is a set of wooden sculptures, which offer a metaphor of general relativity. The trees contain within them a very particular testimony of the passage of time. The distance formed between each ring during a specific lapse of time symbolizes a form of materialized space-time. By sculpting each piece of wood in the same way that stars bend space-time by their mass, Time Warp operates a symbolic inversion between visible and invisible. The act of carving makes matter disappear and gives shape to emptiness. Space-time, through the patterns left by the rings becomes palpable and visible, as the star is guessed by the light that can be seen at the end of the cavity.
Variable dimensions
Time Warp is a set of wooden sculptures, which offer a metaphor of general relativity. The trees contain within them a very particular testimony of the passage of time. The distance formed between each ring during a specific lapse of time symbolizes a form of materialized space-time. By sculpting each piece of wood in the same way that stars bend space-time by their mass, Time Warp operates a symbolic inversion between visible and invisible. The act of carving makes matter disappear and gives shape to emptiness. Space-time, through the patterns left by the rings becomes palpable and visible, as the star is guessed by the light that can be seen at the end of the cavity.
93 x 121,7 cm
©thomascerato
155 x 155 cm
120 x 100 cm
Signed, titled and dated at the back
50,5 x 36 cm each
50,5 x 36 cm
Signed, titled and dated at the back
50,5 x 36 cm
Signed, titled and dated at the back
50,5 x 36 cm
Signed, titled and dated at the back
64 x 92 cm
Tiled, dated and signed at the back
45,5 x 35,5 cm
Tiled, dated and signed at the back
45,5 x 35,5 cm
Tiled, dated and signed at the back
45,5 x 35,5 cm
Tiled, dated and signed at the back
16 x 20,5 cm
Signed, titled and dated at the back
The Solar dynamics series is a representation of the sun, through an hydrogen filter (H-Alpha) applied on a telescope by the Solar Dynamics Observatory. It allows to observe with great precision the details of the chromosphere, a thin but very active layer of the solar atmosphere.
The 24 drawings composing this series correspond to the decomposition of the sun's rotational movement over 24 hours. The dot becomes a tool of mise en abyme where the big white circle of the sun is itself a composition of an infinity of points.
16 x 20,5 cm
Signed, titled and dated at the back
The Solar dynamics series is a representation of the sun, through an hydrogen filter (H-Alpha) applied on a telescope by the Solar Dynamics Observatory. It allows to observe with great precision the details of the chromosphere, a thin but very active layer of the solar atmosphere.
The 24 drawings composing this series correspond to the decomposition of the sun's rotational movement over 24 hours. The dot becomes a tool of mise en abyme where the big white circle of the sun is itself a composition of an infinity of points.
16 x 20,5 cm
Signed, titled and dated at the back
The Solar dynamics series is a representation of the sun, through an hydrogen filter (H-Alpha) applied on a telescope by the Solar Dynamics Observatory. It allows to observe with great precision the details of the chromosphere, a thin but very active layer of the solar atmosphere.
The 24 drawings composing this series correspond to the decomposition of the sun's rotational movement over 24 hours. The dot becomes a tool of mise en abyme where the big white circle of the sun is itself a composition of an infinity of points.
Acrylic on canvas
160 x 115 cm
Signed, titled, dated at the back
The Composantes spectrales (spectral components) series follows from on the previous artist’s research on the light’s diffraction using coloured dots. Cyrielle Gulascy evolves in her work of light representing. In this series, the scale of each dot is widened to emphasize on the propagation phenomenon. It allows to show even more all the colors that the eyes cannot see naturally.
Acrylic on canvas
160 x 115 cm
Signed, titled, dated at the back
The Composantes spectrales (spectral components) series follows from on the previous artist's research on the light's diffraction using coloured dots. Cyrielle Gulascy evolves in her work of light representing. In this series, the scale of each dot is widened to emphasize on the propagation phenomenon. It allows to show even more all the colors that the eyes cannot see naturally.
Acrylic on canvas
160 x 115 cm
Signed, titled, dated at the back
The Composantes spectrales (spectral components) series follows from on the previous artist’s research on the light’s diffraction using coloured dots. Cyrielle Gulascy evolves in her work of light representing. In this series, the scale of each dot is widened to emphasize on the propagation phenomenon. It allows to show even more all the colors that the eyes cannot see naturally.
Acrylic on canvas
160 x 115 cm
Signed, titled, dated at the back
The Composantes spectrales (spectral components) series follows from on the previous artist's research on the light's diffraction using coloured dots. Cyrielle Gulascy evolves in her work of light representing. In this series, the scale of each dot is widened to emphasize on the propagation phenomenon. It allows to show even more all the colors that the eyes cannot see naturally.
Acrylic on canvas
80 x 100 cm
Signed, titled, dated at the back
Light Diffusion is a series of paintings that makes the link between white Light and visible light.
Through the articulation of color and brush dots, the artist tries to interpret of the passage of white light through the earth’s atmosphere. The particularity of this phenomenon is that it diffuses the light in such a way that it appears primarily blue.
93 x 122 cm
Signed, titled, dated at the back
In the Exosphère series Cyrielle Gulacsy continues her pictural exploration based on natural phenomenon, especially on the very essence of light.
The "Exosphere" refers to the most external layer of the atmosphere, which reaches the void of interstellar space. Despite the black appearance of the canvas' surface, it is indeed the light that the artist focuses on, by painting these different dots. The lack of atmosphere in this stratum prevents the light from releasing, which explains the dark, almost black aspect.
16 x 22 cm
Signed, titled, dated at the back
-
16 x 20,5 cm
Signed, titled and dated at the back
The Solar dynamics series is a representation of the sun, through an hydrogen filter (H-Alpha) applied on a telescope by the Solar Dynamics Observatory. It allows to observe with great precision the details of the chromosphere, a thin but very active layer of the solar atmosphere.
The 24 drawings composing this series correspond to the decomposition of the sun's rotational movement over 24 hours. The dot becomes a tool of mise en abyme where the big white circle of the sun is itself a composition of an infinity of points.
16 x 20,5 cm
Signed, titled and dated at the back
The Solar dynamics series is a representation of the sun, through an hydrogen filter (H-Alpha) applied on a telescope by the Solar Dynamics Observatory. It allows to observe with great precision the details of the chromosphere, a thin but very active layer of the solar atmosphere.
The 24 drawings composing this series correspond to the decomposition of the sun's rotational movement over 24 hours. The dot becomes a tool of mise en abyme where the big white circle of the sun is itself a composition of an infinity of points.
16 x 20,5 cm
Signed, titled and dated at the back
The Solar dynamics series is a representation of the sun, through an hydrogen filter (H-Alpha) applied on a telescope by the Solar Dynamics Observatory. It allows to observe with great precision the details of the chromosphere, a thin but very active layer of the solar atmosphere.
The 24 drawings composing this series correspond to the decomposition of the sun's rotational movement over 24 hours. The dot becomes a tool of mise en abyme where the big white circle of the sun is itself a composition of an infinity of points.
50 x 70 cm
Signed, dated at the back
-
Acrylic ink on cotton canvas
130 x 85 cm
Signed, titled, dated at the back
The Composantes spectrales (spectral components) series follows from on the previous artist's research on the light's diffraction using coloured dots. Cyrielle Gulascy evolves in her work of light representing. In this series, the scale of each dot is widened to emphasize on the propagation phenomenon. It allows to show even more all the colors that the eyes cannot see naturally.
156 x 118 x 3,5 cm
156 x 118 x 3,5 cm
Acrylic ink on cotton canvas
160 x 115 cm
22,86 x 30,58 cm
Acrylic on cotton paper
18 x 21 cm
100 x 120 x 3,5 cm
60 x 44 cm
18 x 21 cm
92,7 x 135,9 cm
53 x 73 cm
Acrylic ink on paper
112 x 77 cm
Cyrielle Gulacsy was born in the Paris region in 1994. She lives and works in Paris.
With the influence of modern sciences, her work evolves towards the representation of an imperceptible reality close to abstraction, revealing the invisible laws of nature. Space-time, electromagnetism and light diffraction are all fields of research and experimentation that allow her to explore representations of reality. In her work, she explores our perception of light through space and time, trying to reveal the matter that composes it. Each point, whether it is the measure of a particle or a celestial object, gives substance to an inaccessible reality and offers a point of view at the same time intimate and dizzying of the world which surrounds us.