Boissel opines: ‘If by stained glass you mean a technique, then stained glass is dead.’ Born in 1962, this pupil of Ludwig Schaffrath from France has in his work been thoroughly plumbing the depths of the new possibilities offered by glass technology, and has shown a penchant for working with kiln-formed industrial glass. Since 1991, he has been at the head of the study and experimental workshop for stained glass, light and mosaics at the Akademie der Bildenden Künste (Academy of Fine Art) in Munich. Through his position as a teacher and his own works, Boissel exercises a remarkable influence on contemporary artistic use of glass in an architectural context.
In the summer of 2015, Boissel set himself the task of presenting his architecturally circumscribed projects in a museal context, at the Deutsches Glasmalerei-Museum in Linnich. The exhibition at the Vitromusée displays these works and installations within the context of a new spatial dialogue.
Whether ornamental or figurative, coloured or monochrome, the artist’s works strike one most immediately as membranes, veils or boundaries between spaces. Paradoxically however they are above all entrances ‑ entrances to an invisible and transcendent world created in the mind of the beholder. These pieces, which are constantly morphing, invite the viewer to step beyond purely visual, aesthetic or haptic appreciation. Boissel’s space games and oscillating light ‑ which he captures, reworks and renders tangible ‑ take the beholder to experience the world on the other side of the glass.
(Text taken from a Vitromusée Romont press release)