Display of the elements of the chandelier

Welcome to Luckyland

Navn
Nathan Lartigue
Uddannelsesgrad
Professionsbachelor
Fagfelt
Design
Institut
Bygningskunst og Design
Program
Crafts in Glass and Ceramics
År
2024

With delicate intentions of expressing his very precious relationship with superstition, Lartigue Nathan is using the glass qualities combined with his appetite for sculpted glass to invite you to Luckyland, his kingdom of luck. Inspired by the venetian tradition, Lartigue Nathan´s chandelier is offering you a place to discuss freely about your own relation to superstition and symbols. Be welcome to Luckyland.

 

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"With this new approach towards chandeliers, I had the great want of taking my try making one I could play with by adding elements in relation with the superstition & luck. I imagined a chandelier that would not include any lights at the end of its branches, but symbols of luck. The point is to propose an art piece that would create a place for the reflexion about the place of the superstition in our society." _Lartigue Nathan.

 

 

 

Process pictures & portrait : I DO ART. https://www.idoart.dk

Chandelier "Welcome to Luckyland". 2024. | Photo : Peter Vinther
Chandelier "Welcome to Luckyland". 2024. | Photo : Peter Vinther
“ With his very baroque object, maximalistic, almost ostentatious, Lartigue Nathan drag the attention to put the light on the uncommon and discreet theme of the superstition. „
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Chandelier's detail. Lucky symbol : The crossed-fingers hand. 2024. | Photo : Peter Vinther.
Chandelier's detail. Lucky symbol : The Horse shoe. 2024. | Photo : Peter Vinther.
Chandelier's detail. Lucky symbol : The Ladybug. 2024. | Photo : Peter Vinther.
Chandelier's detail. Lucky symbol : The Wish bone. 2024. | Photo : Peter Vinther.
Chandelier's detail. Lucky symbol : The Glücklicher Pilz. 2024. | Photo : Peter Vinther.
Chandelier's detail. Lucky symbol : The Four leaf clover. 2024. | Photo : Peter Vinther.
Chandelier's detail. Close-up of the leafs. 2024. | Photo : Peter Vinther.
Chandelier's detail. Close-up of the roots . 2024. | Photo : Peter Vinther.
Chandelier "Welcome to Luckyland". - Portrait with my chandelier. - 2024. | Photo : Peter Vinther.
Chandelier "Welcome to Luckyland". 2024. | Photo : Peter Vinther.
Chandelier's detail. Lucky symbol : The crossed-fingers hand. 2024. | Photo : Peter Vinther.
Chandelier's detail. Lucky symbol : The Horse shoe. 2024. | Photo : Peter Vinther.
Chandelier's detail. Lucky symbol : The Ladybug. 2024. | Photo : Peter Vinther.
Chandelier's detail. Lucky symbol : The Wish bone. 2024. | Photo : Peter Vinther.
Chandelier's detail. Lucky symbol : The Glücklicher Pilz. 2024. | Photo : Peter Vinther.
Chandelier's detail. Lucky symbol : The Four leaf clover. 2024. | Photo : Peter Vinther.
Chandelier's detail. Close-up of the leafs. 2024. | Photo : Peter Vinther.
Chandelier's detail. Close-up of the roots . 2024. | Photo : Peter Vinther.
Chandelier "Welcome to Luckyland". - Portrait with my chandelier. - 2024. | Photo : Peter Vinther.
Chandelier "Welcome to Luckyland". 2024. | Photo : Peter Vinther.

 

Since childhood times, I have loved curious, unknown, mysterious objects and symbols linked to the field of spirituality. In my work, I almost always let the influence of these ethnological details from civilisations’ thoughts and beliefs get a place in my artistic creative process.

Then, for my last project at the academy, I chose to work with people’s beliefs once more. This time through the superstition prism and the notion of the luck. 

Any non-superstitious person can possibly describe trusting superstitions as an act of folklore or a «lower-religion» because of its lack of structure in the current society (at least in the West). This low consideration is leading some supertitous people to feel less comfortable sharing their beliefs or feeling judged/laughed at due to the global History of superstitious people being discriminated for their singular thoughts. 

By being superstitious myself, I wanted to express a different sensible and surprising glance on different elements of the notion of luck through glass pieces. I wished to share a new view on the luck and its symbols thanks to iconographies representing the « luck », «the fortune» into an art piece that would be use as a communication medium to help me sharing my vision of it, as a catharsis.

Nathan's necklace : The number 13 all the time. | Photo : I DO ART.
Nathan's necklace : The number 13 all the time. | Photo : I DO ART.
Lartigue Nathan sculpting a glass "Crossed fingers" hand - Glass blowing workshop of the academy. | Photo : I DO ART.
Lartigue Nathan sculpting a glass "crossed fingers" hand - Glass blowing workshop of the academy. | Photo : I DO ART.
Lartigue Nathan. Royal Danish Academy. Bachelor project "Welcome to Luckyland". 2024. | Video : I DO ART Agency. (DK)
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Brass part : water cut at TRIO NEXOE, Nexø 3730 Denmark
Logotype "Welcome to Luckyland" - Disa Hagström, Stockholm 120 54 Sweden
Drawings-Archives "Welcome to Luckyland"
Drawings-Archives "Welcome to Luckyland"
Brass part : water cut at TRIO NEXOE, Nexø 3730 Denmark
Logotype "Welcome to Luckyland" - Disa Hagström, Stockholm 120 54 Sweden
Drawings-Archives "Welcome to Luckyland"
Drawings-Archives "Welcome to Luckyland"

Det Kongelige Akademi understøtter FN’s verdensmål

Siden 2017 har Det Kongelige Akademi arbejdet med FN’s verdensmål. Det afspejler sig i forskning, undervisning og afgangsprojekter. Dette projekt har forholdt sig til følgende FN-mål
CV

Lartigue Nathan ( born in 2000 in La Teste de Buch ) is a craftsmen from France who’s designing objects and installations made of glass. After having followed an education in glass cold working and glass design at the national glass school of France, he moved to the island of Bornholm in Denmark in 2021 to develop his appeal for glassblowing.

His works are showing clear tones, sometimes warm ones and keep simple shapes and profiles. Thanks to his products, he aims to tell stories about different notions. These notions are few, and can be for example the way that the object has been produced, or a short anecdote about a specific community. 

To conclude briefly, he can be see as a narrator using the glass material as a medium to spread informations, to pay homage. He often highlights it by saying that telling something is the only important thing in his productions ; because the piece is what stays after. It stays, to share something, without needing the person behind it.
 

Education & Relevant Courses

Applied art baccalaureate spe.visual arts - IMMA concept, Bordeaux 33 France.

Glass & design DNMADe - ENV.ESDMAA, Yzeure 03 France.

Glass professional bachelor - Royal Danish Academy, Nexø 3730 Denmark.

Professional Work Experience
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Participation to the 1st Clermont Innovation week, Clermont-Ferrand 63 France.

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Participation to the “Glass pattern study” exhibition, Saint-Étienne 42 France.

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Internship under the supervision of Jean Thebault at the Glass Museum of Denmark, Ebeltoft 8400 Denmark.

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Coldworking at Matter House of Craft for May-Britt Zelmer Olsen, Nexø 3730 Denmark.

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Internship under the supervision of Simon Klenell at STHLM Glas, Gustavsberg 13440 Sweden.

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Participation to the “Matter of Making” exhibition at Bornholms Center for Kunsthåndværk_Grønbechs Gård, Hasle 3790 Denmark.

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Participation to the “BA24” exhibition at Bornholms Center for Kunsthåndværk_Grønbechs Gård, Hasle 3790 Denmark.

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Participation to the “BA24” exhibition at Glas - Museet for glaskunst, Ebeltoft 800 Denmark.

IT skills
3D works
Machining
Language skills
French
English