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18:14 - With the acid - The acid, the sanding, etc.
18:16 - Oh yes, the sanding that gives this side. - That's it, this slightly opalescent side.
18:21 - Yes, yes.
18:22 - That's very pretty. - We also do stained glass, which we deploy on large surfaces without plans, for example.
18:29 We will glue the green sheet on a mechanical glass support,
18:33 we will bring it a backlighting,
18:35 and then it is also depending on the artists with whom we work.
18:39 In fact, we are talking about the work of the artist, and it is this work that we will transpose in stained glass.
18:43 And we will look for the technique according to the project that we are trying to transcribe.
18:47 So there is no limit.
18:49 And I think stained glass is eminently contemporary.
18:53 - When I had to move to the workshop, which was in a nice little art deco house of the race,
18:59 but which no longer presented the characteristics to develop the workshop, from all points of view,
19:05 I had to find a place, and I told the administrators and shareholders of the workshop that I was looking for a church.
19:13 And that my dream was to have a concrete church.
19:16 They all looked at me and located in Reims, in addition.
19:19 They said, "Well, Pierre-Emmanuel dreams of high-speed."
19:22 A few months later, a Parisian business manager called me saying,
19:26 "Pierre-Emmanuel, listen, a person I know well and who I really respect,
19:31 Monsignor de Moulin-Beaufort, arrives in Reims as an archbishop of Reims,
19:37 and I would like to invite him to dinner in Reims."
19:41 So I said, "Well, listen, I'd love to."
19:43 And so we meet again in a restaurant in Reims, and after a glass of champagne, I go to Hardy.
19:49 I didn't know Monsignor de Moulin-Beaufort, and I said to him,
19:52 "Monsignor, we must meet thanks to this business manager.
19:56 I need you, the workshop needs you."
19:59 I tell him about the workshop, of course, and I say, "We are looking for...
20:03 So do you have a church for us?"
20:05 He says, "Yes, I have one. We were in the middle of Covid."
20:07 I say, "Well, is it in Reims?" "Yes, it is in Reims."
20:11 "Is it made of concrete?" "Yes, it is made of concrete."
20:14 So I say, "Listen, is it serious?"
20:17 I say, "Yes, yes, it is serious."
20:19 And so I thought, "Maybe this is a conversation, a dinner agreement."
20:25 And I called him back a few days later, and he said,
20:28 "No, no, it's very serious. It's very convenient for the diocese
20:31 to install the oldest stained-glass workshop in the world in a church
20:36 between the church and stained-glass 800 years ago."
20:42 It made a lot of sense for a church to have this workshop.
20:46 And to work in silence, etc.
20:48 And he knew that the stained-glass workshop was not intended to be a capitalistic business or money.
20:55 So everything suited him perfectly.
20:57 So we desacralized the church with a very beautiful ceremony
21:00 with the people of the neighborhood, of the whole neighborhood, around the Sacred Heart.
21:04 I think it's a story full of meaning.
21:07 Yes, it's very beautiful.
21:08 It's very beautiful, and we are very happy to highlight this church
21:13 and to make it live with always a soul project that is essential.
21:17 I have a question. Behind you, there is a large scale.
21:20 I doubt that it is not the chair, a priori, of the abbot.
21:24 No, it is a very historical scale that has accompanied the life of the workshop
21:28 for decades and decades.
21:30 It is the scale that allows the abbot to work on the models of stained-glass in real size.
21:36 For a stained-glass window, we often make the model at scale, I mean, number one,
21:42 the size of what the stained-glass will be in the end.
21:45 And often these are large windows, and so we need this scale
21:49 which has seen a very large part of the history of the Simon-Marc workshop.
21:57 So, my minute of Professor Laurent, I am going to be in the extension of what Pierre-Emmanuel said.
22:02 When you want something, you really have to believe in it, hope against all hope,
22:06 and finally things end up happening.
22:09 But it's even nicer if you have this supplement of soul that you talked about.
22:13 It's thanks to you, I can tell you that it's a television that gives time to time.
22:19 And today in a world where we ultra-trail, or trail, or tweet, or email,
22:25 or in class, or in a marathon, to express yourself on your television,
22:29 it makes me think of the art of stained glass, it also makes me think of champagne.
22:33 That is to say, we can walk in a conversation, dream in a dialogue,
22:40 and it is a rare faculty that your television gives to those who have the chance
22:48 to be invited to meet you and talk to you.
22:52 Thank you very much, Pierre-Emmanuel.
22:54 [Music]
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