• Interview with Ute Hubler and Sonja Nitschmann

Lighting the Way Between the Visible and the Invisible

By Ziggy Nixon

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Roseline de Thelin’s stunning works of art – which span painting, photography, jewelry-making, sculpture and so much more – just give me the feeling of reading an Aesop’s fable, or children’s story, or even fairy tale. Perhaps it is from the sense of play and innocence she includes both in her work process and in her works. Or perhaps I, too, am receiving some of her special “radio” signals that broadcast their own special form of inspiration.

From the days of receiving her Master’s Degree in Arts Management in Paris and later as a stage manager and artistic coordinator for operatic production for the Châtelet Theater in Paris and the Palais Omnisports in Paris Bercy, de Thélin’s journeys have taken her to some fascinating places – both literally and figuratively. She would later enjoy a one-year Residency Scholarship for painting and sculpture in India, returning several times over the following years to this land, where she would find so much inspiration. It was also here that she would eventually purchase twenty kilograms of semi-precious-stone beads and start working with quartz and other gems. And her love-relationship with light – alongside a means of expressing this love – would begin to flourish as never before.

Since then, de Thélin has developed a very unique and stunning visual style, creating, among other objects, kinetic mobiles, light reflectors, light installations, chandeliers ... to name just a few. She is also well known for her sparkling light projections and the hauntingly beautiful multi-media performances that she often arranges to accompany her exhibitions and releases of new works. I was very pleased to catch up with Roseline de Thélin, who graciously gave me a few moments of her time; interrupting her busy schedule working on new projects through the unrelenting summer heat of the Spanish island paradise of Ibiza …

Roseline, I notice that the descriptions about your work and even different pieces feature both a kind of spiritual, or even cosmic awareness, plus even a touch of fantasy, or folklore to them – for example, I enjoyed your description of “Time Smiles” as being “a cosmic and poetic project.” But the more I looked at your different pieces (your website is fantastic, by the way!!), I also sense as well what appears to be a good dose of philosophy. Do you consider yourself, or your work to be philosophical in nature, or in its message?

I always find myself drawn to subjects, or forms that question my own perception of reality. And, as we are all mostly fixed in our own pre-determined perception of reality, I like to create pieces that play with our perceptions and senses. By doing this, I am trying to open new possibilities on an existential level. As I evolved in my creative process, I came to see life as being full of parallel possibilities and realities – or even dimensions if you want to think of it that way. And light became very naturally my medium – my choice for a language or vehicle with which I could play with illusion and reality. I don’t know if you’d consider that philosophical; perhaps it’s metaphysical? Either way, my work can definitely sometimes be very profound – even though I don’t like to be too serious when I work. My creative process is very playful and I feel an endless, almost child-like thirst for discovery.

Time Smiles

I also try to bring the viewer into this questioning experience in a light way, easing them into an understanding through their own feelings and sensations for a piece. Light is such a sensual medium. So what counts first is what people feel when they see the work. If this experience leads them deeper into the concept and context of inspiration, then I am happy.

Where do you think this comes from?

I see myself as a sort of receptor-emitter, kind of like a two-way radio. Subjects come to me like energy waves which I somehow download! I get a vision, a dream and then it unfolds, grows and finds its shape. I feel I am only helping it take form. The downloading step is the fun part – after that comes all the technical and organizational tasks. To me, it is a very magical process that gives both pleasure and pain.

Double Ellipse (fiber optic light sculpture)

A couple of technical questions: in “Time Smiles”, you use photographic prints on aluminum as part of the medium. How were these created?

I love to photograph light in all its manifestations. In this case, the prints on aluminum are photographs I took of various light sculptures of people. I made then a series of photographs shot around the work.

Afterwards, these were printed digitally on a flat bed printer, using inks which have a thick matte texture. Another interesting effect was achieved because the “color” white is not printed, leaving parts where the reflective aluminum is still visible. I quite like the result and have received a good response from the public for these works.

Homos Luminosos (fiber optic light sculpture)

Do you also handle the electronic part of your works? It seems this aspect would be difficult to manage with some of your pieces, that is, in terms of combining the functional elements (wiring, bulbs, etc.) of a piece with the limited space, or fragile materials?

I generally handle the electrical mounting myself, learning along the way when I use new technologies. When I need electronic programming or other, more complex effects, I find people to do the necessary work. For example, with the “Homos Luminosos” in the exhibition “Time Smiles”, I prepared the characters in a 3D animation program and then created a mapping for the optical fibers. That was definitely a bit complex for the first one. Luckily, I know a specialist nearby who can help with these kinds of technical issues.

Homos Luminosos (fiber optic light sculpture)

You often include performance art – mixing drama, story-telling, dance, music and more – with gallery introductions and new releases of your works. Why the attraction to this kind of presentation?

After the conceptual and technical preparation of the show, I invite other artists – including musicians, dancers, theater actors – to help me create a performance together in the décor and atmosphere of the exhibition. I define the first conceptual outline and we start from there. For me, using this platform of an exhibition to “reflect and play” with other artists is a very juicy experience. This is like the icing on the cake for me!

I especially love the ping pong action of the creative dynamic, that back and forth in the creative process where we grow from each other and with each other. And the platform of the exhibition gives me a whole new space-time possibility to present my artistic vision.

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