Nolwenn de Kergommeaux is a master glassmaker. She receives us in her Parisian studio “at the light smuggler”. Whether it is a reproduction of stained glass from the Middle Ages or the creation of a modern stained glass window, the steps are always the same. Religious history, symbols, a very sure stroke of the pencil, a sense of harmony of colors and volumes are essential qualities to become a master glassmaker. A profession which, according to Nolwenn de Kergommeaux, is out of the ordinary.
The biggest challenge: painting on glass. The part which is broken and which is next to an original part, it is absolutely necessary that it is in adequacy with the part next to it and that its restoration cannot be seen.
Nolwenn de Kergommeaux, master glassmaker.
” The name of the workshop comes from the book I read during my training, “Le passeur de lumière” by Bernard Tirtiaux. I got so into this novel that I said to myself: “the day I set up my studio, I would like to call it that”. The beautiful story is the meeting with the son of this writer, when I moved to rue Sainte-Marthe in my first studio. I run into Bernard Tirtiaux’s son who says to me, ‘You called your workshop after my father’s book: it’s magnificent! »
Nolwenn de Kergommeaux, in adolescence participates in volunteer sites for heritage, masonry, carpentry, stone cutting. After her BTS in economics, she realizes that she wants to do a craft job. Attracted by stained glass, she learned directly from a master glassmaker. She finally found her way. Well trained, she quickly set up her workshop, “to the light smuggler ».
Restoration and creation of stained glass windows
Craftsman and master glassmaker for more than twenty years, Nolwenn de Kergommeaux, in his studiooffers the creation and restoration of stained glass windows.
” Creation requires a lot more techniques. We have a basic technique of traditional stained glass, now there are techniques that we would like to be able to include in contemporary creations such as fusing, glass fused at least two glasses together. This modifies the color and brings relief, so we can thermoform two, three, four, five, six glass plates. The fusing is not necessarily integrated into traditional stained glass, where the glass is crimped with lead, it will rather be large glass plates so it can be monumental or it can be 1 m by 2 m, or even larger. These are huge projects, often for public building. We master engraving, sandblasting, but it would be interesting to be able to include fusing in the stained glass. So, I hope I can get there soon. »
Transmission of gestures from hand to hand
Heritage craftsman, her mastery of the art of stained glass allows her to transmit during internships or retraining courses, the love she has for her profession.
“I’m never bored, it’s never the same thing, every day we learn a lot sociologically as well thanks to professional training since we meet adults who are older than us, sometimes who have experienced either a burnout , or they are exhausted by their old job. They have responsibilities but they become students again. It is a questioning. Resuming studies at 40, 50 or 60 and being trained by someone younger is not easy either, it means learning to know your limits. We also receive students, from 14 years old, 15 years old. Whether they are in CAP, in the first or second year of the Craftsmanship certificate, we are there for them, so that they can do their four-week or six-week internships. We’re here to train them, to show them that it’s a great job.”concludes Nolwenn de Kergommeaux.
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