Flavie Audi

Flavie Audi’s (b. 1986) practice finds its point of departure within the manipulation of glass. For the artist, glass plays a crucial part in contemplating a speculative utopian future world where humans create cosmic fragments and new types of landscape formations. Using the physical properties of glass, Audi highlights the duality between the real and virtual worlds. Through its omnipresence in nearly all contemporary forms of digital devices, glass becomes a signifier of the tension between the realms of the tangible and the digital, as well as a facilitator of the disappearance of physical objects.

The digital atmosphere that surrounds us threatens the definition and perception of reality. In an era of technological innovation that has seen the creation of flawless, synthetic diamonds, undetectable by man or machine, Audi’s questions how we experience the real. Audi creates fragments emanating from a mass production landscape where gemmology aligns with geology in this synthetic new nature.

Audi pursues ways of expressing sensuality and luminosity creating dazzled encounters with wonder and the sublime. Her works translate the mechanism of life and light and resemble fragments of an ethereal landscape or geology. The forms and gestures capture a fleeting, living energy and suggest a certain mystery. They are an expression of the energy and essence of existence, hovering between digital screen and celestial body. In a dematerialised world where all is virtual and generic, her work seeks to define a new type of aesthetic and physical materiality and invites the mind to expand into the cosmological infinite.



Audi’s Fluid Rocks are created using a combination of blown glass, colour pigments and semi-precious materials, such as fine gold and silver. When added to the glass, these elements spark chemical reactions, making the pieces simultaneously scientific and open to chance.

The results of Audi’s skilled alchemic glass-blowing process are tactile and sensual, yet contained in a solid glass sculpture. Their undefined edges and fluctuating colours change constantly under different lights.



Audi’s LCD (Lithic Crystalline Deposit) panels are created using Dichroic Glass, a material that is created by stacking micro-layers of glass, metal oxides and semi-precious metals in order to produce an array of luminescent colours that shift under light as the viewing angle changes.

The intense, computerized technique involves vaporizing metallic oxides with an electro-gun inside of an airless vacuum-chamber. This creates a floating dust that settles on and coats the surface of the glass. The complete process requires up to 50 different layers, and as a result, these works can take many months to produce.

Due to uncontrollable variations in the firing process, the nature of each work cannot be predicted, making each sculpture completely unique.



In Cell-(estial) – Audi’s first solo show at Tristan Hoare – the visitor passed from one world to the next through the two gallery spaces; one room represented the man-made and the virtual; the other embodied the natural, chaotic state.

The first room featured Cloudscape 8, which followed the rational rules of Euclidean perspective, and worked to counter the darker Cloudscape 7: a scattered, explosive sea of galactic debris.