Genesis of the Project

Tremini is part of the broader artistic series Les Mini-mondes de Luchella, developed by the artist since the late 1980s.
While originating from this series, Tremini has progressively gained conceptual and formal autonomy and is now considered a standalone project.

Origins

The first elements of the Luchella universe appeared in 1988 with the creation of a sculpted and painted world on a chestnut tree stump, an artwork that received an award in a competition organized by the company Colas.

This initial work established the foundations of a constructed, inhabited world conceived as a coherent territory.

Over the years, this universe expanded through the creation of new illustrations, each one refining and extending the landscapes and modes of habitation that define it.

Artistic approach

Tremini directly originates from a collage made in 2015 using crumpled historical papers.
This process relies on chance and pareidolia: folds, tears, and volumes generated by the paper suggest forms that are then interpreted as landscapes, buildings, and terrains.

Originally conceived as a single pictorial artwork, Tremini underwent a fundamental transformation when it was transposed into a digital format.

Transition to digital and project evolution

The digital translation of Tremini marked a decisive turning point. It allowed:

• detailed exploration at a very large scale,
• progressive enlargement of formats,
• continuous enrichment of the landscape.

With this shift, a new factor became central to the project: time.
Tremini evolved from a finite artwork into a long-term project designed to unfold over several years.

Each completed version brought a sense of accomplishment while also revealing limitations that led to further technical and conceptual developments.

Definition of the universe

The world of Tremini is defined as a form of “agrarian steampunk”.
It depicts a society without motorized vehicles, relying instead on simple mechanical systems, airships, cable-based transportation, and vernacular engineering solutions.

The architecture draws primarily from Provençal and Alpine traditions, deliberately avoiding monumental or fantastical constructions such as palaces or castles.
The aim is to create a believable, functional habitat integrated into its environment.

Landscape evolution

In its early stages, Tremini evoked a Mediterranean hinterland, composed mainly of rocks, shrubs, and white buildings.
Over time, the image expanded through:

• the introduction of trees and complex vegetation,
• the multiplication of buildings,
• reflection on circulation, usage, and spatial relationships.

The initial forms generated by chance were preserved as a compositional foundation and then progressively refined to ensure coherence.

Tremini as a long-term project

Tremini now represents the culmination of over a decade of artistic research.
Version IV, currently in progress, aims to reach a level of precision that constitutes a point of balance in this long-term process.

While structured, the project remains open-ended in its modes of production and dissemination.
The digital format enables multiple forms of presentation, including exhibitions, large-format prints, immersive installations, and interactive applications.

Tremini is therefore conceived as an artwork built over time, where each phase contributes to the maturation of the whole.

Orbloque (of mini-mondes de Luchella)
First illustration king size (80cm height)

Suite : Description technique de l’œuvre et état d’avancement