Life is good when you’re Thierry Dreyfus. Working for over 24 years in the lighting business (in the loosest sense of the term), with everyone from Starwood Hotels to Yves Saint Laurent - Dreyfus has helped to transform light from mere illumination into a legitimate artistic form.
Starting out in theatrical lighting design, Dreyfus quickly moved into the worlds of fashion and art - producing installations for some of the most memorable catwalk shows to hit the Fashion weeks of Paris, Milan and New York.
Practicing out of his Parisian studio, Dreyfus experiments with light, the way in which a sculptor experiments with new materials. Although that said, considering Dreyfus’s intimate interaction with his material of choice, one could almost be forgiven for branding him a sculptor of his form.
Illuminating runway shows for everyone from Calvin Klein and John Varvattos, to Dior Homme and Comme des Garcons, one of Dreyfuss’s most famed lighting installations - produced for the reopening of the Grand Palais in Paris back in 2005 - was designed, in the word’s of Dreyfus himself, ‘to make people dream’.
This month however, Dreyfuss has unveiled a site-specific installation for a new show at London’s Louise Blouin Foundation. Curated in collaboration with Carpenters Workshop Gallery, Design High offers an elegant exposé on the ever-narrowing gap between artistic and design practices.
Providing a neat take on the well-trod theme, the show features work ranging from Marc Quinn’s iceberg desk, carved from an unrefined block of white marble; to Atelier van Lieshout’s Body Sofa and Wombroom (a portable, anatomically correct room designed around a uterus), and Vincent Dubourg’s functional found-object pieces.
Dreyfus’s own offering does not disappoint. Featuring a cascade of concrete cubes suspended from a mirror by invisible strings, the pixilated mobile is eerily under-lit by custom made neon tubes – combining lighting techniques with sculptural practices to produce something above and beyond your standard lamp.