{"id":2226,"date":"2025-03-28T18:47:09","date_gmt":"2025-03-28T17:47:09","guid":{"rendered":"https:\/\/nicolas-lebrun.fr\/?post_type=project&p=2226"},"modified":"2025-04-18T09:47:55","modified_gmt":"2025-04-18T08:47:55","slug":"vct-ii","status":"publish","type":"project","link":"https:\/\/nicolas-lebrun.fr\/fr\/project\/vct-ii\/","title":{"rendered":"vct.3"},"content":{"rendered":"

Troisi\u00e8me ensemble du corpus de pi\u00e8ces Variationes circa triangula<\/em>, cette recherche prend comme point de d\u00e9part la contrainte de r\u00e9aliser une composition \u00e0 partir de triangles, chaque s\u00e9rie t\u00e9moignant d\u2019une \u00e9volution ou d\u2019une modification du protocole.
Inspir\u00e9e par les \u0153uvres des ann\u00e9es 60 et 70 (Op Art, GRAV, Sol Lewitt\u2026) qui utilisent des formes g\u00e9om\u00e9triques simples, cette s\u00e9rie r\u00e9interpr\u00e8te ce style avec un syst\u00e8me de grilles ou de trames. La composition est travers\u00e9e par un ensemble de lignes droites dans diff\u00e9rentes directions : verticales, horizontales et diagonales.
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La composition est cr\u00e9\u00e9e en deux temps, un premi\u00e8re partie du programme va initialiser la composition avec des formes pleines en noir et des zones vides. Le tableau est construit autour d\u2019une grille modulaire, par division successive de l\u2019espace de composition. Pour chaque cellule, sont d\u00e9termin\u00e9es une \u00e9chelle et une rotation, et, dans chacune d\u2019elles, un triangle est trac\u00e9. Les variations d\u2019\u00e9chelles vont avoir pour principal effet de produire des recadrages dans le triangle ou \u00e0 l\u2019inverse de cr\u00e9er une r\u00e9p\u00e9tition quand la zone de recadrage est sup\u00e9rieure \u00e0 la surface de la cellule. Les diff\u00e9rentes rotations vont permettre de faire varier la forme du triangle comme si on lui appliquait un miroir horizontal ou vertical.
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Une fois que cette premi\u00e8re structure est cr\u00e9\u00e9e, elle va \u00eatre enregistr\u00e9e pour servir de pochoir. Le programme va la r\u00e9interpr\u00e9ter en fonction de la couleur de chaque pixel. La suite du protocole consiste \u00e0 tracer des lignes au-dessus de cette structure-pochoir. En tra\u00e7ant ces lignes, le programme v\u00e9rifie point apr\u00e8s point si elles atteignent la surface d\u2019un triangle et les rend visibles ou les efface le cas \u00e9ch\u00e9ant. En m\u00eame temps, qu\u2019il r\u00e9v\u00e8le la composition initiale, le programme d\u00e9voile son syst\u00e8me de lecture ou d\u2019interpr\u00e9tation en cr\u00e9ant des motifs de grilles qui s\u2019entrecoupent. Cela cr\u00e9e un rythme dans la longueur et l\u2019espacement de chaque trait, ce traitement ne se limite pas \u00e0 la composition pr\u00e9existante, il d\u00e9borde et recouvre tout l\u2019espace de la composition.<\/p>\n\n\n\n


\u00c0 ce jeu d\u2019intervalle entre les lignes se m\u00ealent une autre variation : la couleur. Le programme compte les lignes et \u00e0 chaque fois qu\u2019il rencontre un multiple, il d\u00e9cide de changer la couleur de la ligne. Est-ce pour v\u00e9rifier que le processus fonctionne bien, pour contr\u00f4ler qu\u2019il y a un certain nombre de lignes ? Ou, Est-ce un geste pictural, purement gratuit et d\u00e9coratif ?<\/p>\n\n\n\n

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\"Triangle<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n
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