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                     WELCOME ON the BLUE SITE...  THAT BLUE of


 P  I R E T T E

Artist Draughtsman,



Newspaper Alsace 22/02/2002

Under glass, the words

After  "DECK Blue", would there be had from now on "POIRETTE Blue"? The artist of LAUTENBACH, known for his control of the writing, all the writings or almost, has from now on an additional feather to pose in his scriptorium: with the latter, he writes in glass, glass which takes, once cooked, a beautiful intense blue color, which emphasizes the features traced by the calligrapher. Its process, qualified of revolutionist in his field, consists indeed with "immortaliser penmanship in glass" the idea germinated after having handled a large-sized telescreen, this famous small play of drawing for child, who consists in turning two buttons to move a cursor in "sand", and to shake the machine to erase the drawing carried out before being able to start again "I wanted to adapt the operation of the large-sized telescreen, which makes it possible to still write and write, on same surface, and to erase of only one gesture the preceding drawing. I wished to find a system allowing me to write without needing any reserve of ink, which leaves traces inevitably, and also to support slips it of the writing, without there being resistance of the support. I said that if one could combine the art of penmanship and glass such as I imagined it, that would be fabulous! "

Secrecies of Masters

All research and the experiments of the calligrapher led to a result more than promising. Afterwards many tests, carried out with Bernard RIFF, main glass-maker of STRASBOURG, Jean-Hugues POIRETTE from now on overcame his method, while passing from the experimentation at the last end of the year, with the aujourd' realization today "I work on the glass plates worked by Bernard RIFF, who cooks them, after penmanship, in his furnace. Without revealing all my secrecies, I can simply say that it is a question of tracing words or drawings on a fine glass beads film, in fact a layer of oxide cobalt, which is powdered on a plate with glass "then Remains to be let slip the feather, empty of any ink, of a fast and sure blow" It is high stunt-flying: the feature must be right and single. I am not obliged to split my feature, as I must do it with ink. But station with the error! If not, all is started again: cleaning of the plate and resaupoudrage included/understood "a constraint which does not seem however not to disturb the artist, who puts his dexterity to the test with a certain mischievousness, by retaining his breath not to disturb the surface of glass, covered with blue powder.


VRP of "Calliverre" of LAUTENBACH in PARIS

It any more but does not remain to affix with meticulousness a second glass plate, on the first, the writing in the medium, and to charge. The cooked plate, the writing was integrated into glass, letting appear on the features some bubbles of air, which gives an additional magic to work. After the success of a series of beautiful plates, blue obviously, the artist carried out a splendid coffee table, always of the same color, as it presented at various organizations. VRP of "Calliverre", its trade mark, it proposes its system in all the fields having milked with architecture or arts "I make neither of inclusion, neither of engraving, nor of the projection of ink like that is done in addition. My writing enters truly glass, by the magic of cooking. This process thus applies to all the drinking glass holders, vertical or horizontal. A mine of possibility. More especially as that is not transitory: the writing in glass remains for always, is not erased, does not deteriorate "Jean-Hugues POIRETTE left his scriptorium of Lautenbach, its coffee table précautionneusement packed, the time of a prospection in the mediums of the luxury and architecture. The contacts are made, and Jean-Hugues must carry out a memorial for the cemetery of the Père LACHAISE in PARIS, his first orders "the direction of the cultural affairs of the town of Paris was interested by the process, for what it has of alive, of human, in addition to the blow of leg" If the calligrapher always transmits his art and his passion for the beautiful letters, at the time of training courses of penmanship and particular courses, it hopes well to develop its single process, and to be devoted to it completely. "

TO DISCOVER scriptorium of Jean-Hugues POIRETTE in LAUTENBACH Such.

Jean-Hugues POIRETTE: "My writing enters truly glass, by the magic of cooking"

Photographs Anne SUPPLY


" The blue is deepest of the colors: the glance is inserted there without meeting obstacle and loses itself there ad infinitum, like front a perpetual evasion of the color. Blue is most immaterial of the colors: nature generally only presents it made transparency, i.e. of vacuum accumulated, air space, empty of water, empty of the crystal or diamond. The vacuum is exact, pure and cold. Blue is coldest of the colors, and in its absolute value purest, out of total vacuum of the neutral white. On these fundamental qualities the unit depends on its symbolic systems applications.

With an object, the blue color reduces the forms, opens them, demolishes them. A surface passed to blue is not any more one surface, a blue wall ceases being a wall. The movements and the sounds, like the forms, disappear in blue, drown there, disappear there like a bird in the sky. Immaterial in itself, blue dematerializes all that is caught in him. It is way of the infinite one, where reality is transformed into imaginary. Isn't it the color of the bird of happiness, the blue, inaccessible bird and yet so near? To enter blue it is a little like Alice with the Countries of the wonders, to pass on other side of the mirror.

To lair, blue is way of daydream, and when it darkens, which is in conformity with its natural tendency, it becomes that of the dream. The conscious thought leaves there little by little the place to unconsciousness, just as daylight imperceptibly becomes light of night there, blue of night."

Dictionary of the symbols

of Jean KNIGHT & Alain GHEERBRANT; Edition: BOOK


© 2016 Jean-Hugues POIRETTE