Inspiration through material
Thomas Lelouch and Clémence Mars • © Alexandra Mocanu
Last January, at the Maison&Objet in the City event, Clémence Mars and Thomas Lelouch unveiled White Noise, their first furniture collection at the Gratadou gallery in the 3rd arrondissement of Paris.On a carpet reminiscent of scorched earth, plaster furniture with unusual silhouettes was arranged to form a landscape that was both enigmatic and fascinating in equal measure. An in-depth analysis of what white noise means to the duo.
It was on the benches of the École des Arts Décoratifs in Paris that Thomas Lelouch first met Clémence Mars. However, their duo would not take shape until a few years later, during a joint project at La Station - Gare des Mines.
’Our romantic relationship gradually turned into a professional collaboration. At the time, a turning point in my career came when I left Atelier Kraft in March. I had co-founded this studio with two former associates. This departure allowed me to refocus on my artistic work, while Clémence was beginning her own creative process. Our paths then crossed in a shared dynamic’, confides the young man.
A sculptor specialising in working with plaster, Thomas Lelouch’s artistic identity matched that of Clémence perfectly and they also shared the same influences. By reinterpreting their respective forms, the duo gave birth to a new movement, at the crossroads of their two disciplines. The White Noise furniture collection bears witness to this: ’The name evokes the idea of white noise, creating a soft and enveloping atmosphere. This idea is also reflected in the sculpture’s body language and the way the material is shaped.’ Recognised for its therapeutic virtues, particularly in sleep medicine, white noise has a calming power, which Thomas compares to that of snow. The white colour of their pieces reinforces this analogy, creating a serene atmosphere.
Their work alludes to forms shaped by time, unearthed like ancient bones. This aspect, revealed through the different layers of plaster covering the metal, is omnipresent in their creations. These superimpositions reveal organic nuances and marbling, reinforcing the living dimension of their pieces. This process gives the material an almost sensual appearance, reminiscent of Venetian stucco. The three light fittings, the table and the pedestal table that make up this first collection combine minimalism with exuberance, as the duo likes to say. ’The two concepts are also reflected in the functionality of our pieces. Our table is an example of this. It has a minimalist design with simple tabletops, but its legs extend in all directions, say the duo. We see exuberance here, in the idea of having a function, but not only that. Some objects become real sculptures.
Even when making small pieces, the couple seek to experiment with materials and contrasts. Clémence applies this approach to her furniture. The dissimilarity between the fine materials and the freer forms allows White Noise to escape from an overly formal framework, bringing a 60s touch, almost like an illustration, like Pierre Paulin’s futuristic aesthetic.
In the future, the designers are planning to expand their furniture collection by experimenting with new materials, such as glass. As for the wall light, Clémence and Thomas want to take the bas-relief idea further, with the creation of entire walls made up of large assembled rectangles. A project that is already in development. ’Our ambition would be to design a White Noise house, a place where every piece of furniture would be designed according to this aesthetic. The idea would be to create a space that is both strange and immersive, where everything would be in harmony.’ Experimental design still has a bright future ahead of it. •
