The Manhattan project was conceived and realized for the
contest SEMA 2006 (society of encouragement in art professions) between April
and September, 2006 for approximately 300 hours.
The deadline of sending of files finally inspired a lot me.
11 september 2001, the world remained petrified in front of the television sets
which broadcast in loop both attacks against the World Trade Center.
Five years passed and each keeps still in memory the images of sadness which followed.
The life resumed rather quickly in New York and I wanted to return very modest one tribute to this revival. I prefered to represent the isle of Manhattan according to the image that I had rather that of it to try to trace closely the reality.
The illumination of "high rises" represents the life which swarms and the energy which bustles again.
The electric meshing included in the support symbolizes naturally the interconnections of communications.
The place of the World Trade Center, henceforth baptized "Ground Zero" is symbolized by a transparent ring enlightened by a fixed white light.
the most delicate will have naturally been the base.
The internal base consists of a double stretched and welded copper meshing.
On this grate were then welded small compound electronic
modules of leds in variation of colors and resistors.
After electric test, a first casting of 600 grams assured the sole of the set. After partial hardening, the electric part was organized and the second made casting then three following ones. All these operations were realized on a total duration of seven hours.
The base then dried for three days. After turning out, it was raised and sanded by hand, during about ten hours, to keep it much more eased forms.
The phase of polishing was then begun and the base received an also manual lustring.
The totems and the other blocks were created during five months by the conception of Manhattan. The theoretical technique is rather simple: inclusions of diverse pigments in it.
The totems and the other blocks were created during five months by the conception of Manhattan. The theoretical technique is rather simple: inclusions of diverse pigments in the resin which is catalysing. The finish is then similar to that of the base.
The final detail will have been the white "zero".
After implementation of the set, the removable totems were engraved to track down their respective places.
The final result is visible under your eyes. What is not visible, it is the brilliant effects and the transitions between the nonstop colors which activate pigments contained in the totems.
Manhattan by day
Manhattan by night