Sylvie Savoie

Trained as a cartography technician, she has always been fascinated by flat areas of color and the graphic symbolism of line. From the technical pen to that of the entrepreneur, her passion for creation and her drive for realization led her to found a company combining art and reprography. Thirty years later, her artistic spirit has resurfaced, and stained glass has become her preferred form of expression, as it perfectly unites drawing and technique. The subjects are inexhaustible for her, discovered daily in the environment and in human nature.

From sketches, she traces contours and outlines on paper models that become the linear schematics of the work to come. The silhouettes then take shape, transforming into a puzzle of luminous pieces. Her constant challenge is to uncover the secrets of color that long to emerge through the transparency of glass. Avant-garde in her treatment of subjects and uninhibited in her choice of colors, she creates unique, original works limited only by the lead that frames them. Proof of this lies in personalized pieces, architectural integrations, large-scale projects, and original duo-concept creations with artist Luc Leclerc.

She regularly works on commission, constantly exploring new concepts using the copper foil (Tiffany) or lead came (traditional) methods, while now integrating glass fusion and grisaille (glass painting) techniques into her production. Her stained glass formats have no standard or limit, ranging from a few inches to several feet in size for architectural works—such as a 21-foot-wide by 5-foot-high glass canopy titled “Allegro,” created for a private art gallery.

​

She has quickly gained recognition in the field through participation in group exhibitions, symposiums, and recognized art galleries and centers. To further her artistic development, she prioritizes visual arts training with professional glass artists.

What she loves above all is the spectacular sense of space and luminosity created by glass. Combined with the softness and intangibility of light, she engages with the purity of colors in constant dialogue. The stained glass piece, the tray, the vase (…) are meant to create atmospheres before becoming creations. Her primary goal remains to reinterpret the fragility and strength of “GLASS-NATURE.”