It was chosen to help rebuild the Notremam. Then the fire struck its city with adoption as well.
The story of the restoration of Notremam begins with fire, as Claire Taboret is well aware.
France officials, a French woman, have chosen it over the past ten years, who contacted the Los Angeles home to help bring the resurrection project of $ 900 million to the finish line. Glass windows stained in many southern bays will be established.
As Tabouret saw the most destructive fires in the history of Los Angeles burning her adopted hometown, the similarities have become inevitable.
She said, “Everything begins” with fire, which begins conversation ” – a conversation on how to” turn this destruction into a new birth, a new life. “
A small piece of the birth of the Notrem that Tabouret, 43, is a single -time chance: add a contemporary touch to a cathedral of approximately 1,000 years old.
The only reason why Tabouret is to get this opportunity is that a fire invaded and absorbed the cathedral ceiling in 2019. Laurent Ulrich, the head of Paris bishops, then raised the idea of fixing the new stained glass windows,,,,,,,,, and,, On a visit to the construction site in 2023President Emmanuel Macron from France Fall off.
He said that the French Ministry of Culture will manage a Competition throughout the year To choose the artist who will design it. The ministry said that the windows will fill six of the seven chapels on the side of the plate, and join one photo window in one of the chapels that will remain. The officials said that the committee did not replace anything lost, but to give the cathedral the flavor of the contemporary gesture I promised In the aftermath of the fire.
Conservative Conservatives Loud ObjectionsPartially, because the windows that are replaced-from the renovation of the nineteenth century organized by Eugene Emmanuel Violet-Doc-survivor from the fire. (Other windows in the cathedral, including famous rose windows, remain intact.)
“I haven’t applied for any competitions before,” Taporet said in an interview. “And I think that when I saw this, I was like,” well, if I was going to try once in my life to apply for something, this should be. Because there is nothing bigger and more historically or incredible“
Taporet grew up in southern France and knew even when she was a child who wanted to be a painter. She fed her interest in landscape books in the nineteenth century. Currently, she was 18 years old, she took the train to Paris, where she was accepted in the esteemed sponsorship.
New York visited as an exchange student at Cooper Union before returning to Paris, where she was designed similar to art lessons, worked as a distance space and waited for tables to stay on his feet. One day in 2013, French businessman and billionaire Francois Penol noticed one of her paintings. He bought all her work in the show. “The next morning my life was different,” she said.
Shortly after a year, I moved to Los Angeles, where I quickly discovered the city’s basic magic: “This feeling that you can be in the city, but also to be very solitary,” she said.
Since then, a lot of her work is filled with numbers: sometimes Mines workerssometimes Wrestlerssometimes children (Who are sometimes in groups and Sometimes he wears makeup) And sometimes young women and sometimes itself. Its characters are often filled with “body language” and “inner feelings”, as they have put them, and they were shown in Paris, Los Angeles, London, Tokyo and other places. A painting of beginners young people in blue dresses It is sold at an auction For $ 870,000 in 2021, many of her other business were sold for hundreds of thousands of dollars.
Claire has always taken some kind of her personal life as she creates her paintings. Davidda Nimrov, its owner Night Gallery In Los Angeles, which will host an exhibition for the new TABOURET works (“Moonlight Shadow”) from February 15 to March 29. I think she is a great candidate to do the Notre Dame project. “
Taporet, whose dark pants and jeans were widespread in the last day of the last week, know that some people strongly oppose their new works to replace the dear windows.
But she considers herself a heart researcher. It knows the history of Notremam. She notes that it was built a long time before the nineteenth century, when the last renewal occurred (the owners of the province embrace). Even in its foundation hundreds of years ago, a church was intentionally destroyed so that its stones can be used to build something better.
She said: “The idea of using, reusing and transforming part of the history of this building.” “Every renovation adjusts what was before. So it will be strange to freeze it in time.”
She added: “We have to trust our art, in the same way that we trust every century through us, our artists.”
The Competition Committee eventually gave the last eight competitors a specific task with specific parameters: Pentecost. Each window, with many of its paintings, should represent one sentence of the Bible; Follow the story, make it Plastic work when looking at colors, respect the beautiful, neutral white light; All you make should be easily understood.
At Tabouret’s Los Angeles Studio, her vibrant drawings were displayed for both the six windows on the wall and on the floor. They were accompanied by pieces that were enlarged on some human faces that offer a more detailed look over a lifetime on how work appeared in the end within the cathedral.
She made her work on Plexiglass. Then, using a printing press, create Tabouret prints on each design paper. The ink is displayed differently on each printing, providing an insight into color, texture and shades. “There is an ingredient of inability to predict and surprise,” she said. “Like playing between what you can already control and what you cannot.”
One of the six windows that you drew imagine “Fire tongues”, Taborit said. She said that this is why officials chose the elevation feast and the clips they did. They wanted to link the project with the fire that forced the restoration.
In this, Tabouret took a moment to look at the fires in Los Angeles, which was not far from her studio and the life she created here for herself and her family.
Through the studio, a large panel of a group of children bent on the wall. Tabouret had recently pulled it out of storage and decided to breathe it using blue gray acrylic paint, without knowing the cause completely. A blanket was added to children as well.
Now she said that the lines created by spraying suddenly look like ash. The blanket felt like a form of protection. “Maybe not a lot of chance,” she said.
“What is really broken for everyone in Los Angeles is that we feel safe and certain,” she said. “It is crowded here, we thought that the fire could never come to us.”
