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Gallery Day Montreal: artist talk with Joani Tremblay - February 2

February 2, 3:30–4:30 p.m.
Galerie Hugues Charbonneau
372 rue Ste-Catherine O.

Talk in the exhibition “Bone Black and Titanium White – Colour and Light / Noir d’ivoire et blanc de titane – couleur et lumière”
Led by artist Joani Tremblay, in conversation with Julie Trudel
Held in French

Gallery Day Montreal

Couleur et lumière (2018)

5 minutes video

Noir d’ivoire et blanc de titane – couleur et lumière

Acrylic paint on folded and assembled colored acrylic sheets

Galerie Hugues Charbonneau, Montreal, from January 16 to February 23, 2019
NARS Foundation, Brooklyn, from October 12 to November 9, 2018

Having reduced my palette to black and white in 2012, I am trying, since 2015, to include ambient light in my work, by painting on clear acrylic supports (commonly known as plexiglass), using this material’s transparency, reflective properties, reversibility and plasticity. By adding light to the traditional aspects of abstract painting, I seek to create a visual complexity that speaks of our time in which the screen is everywhere.

In this new project, I tried to reintroduce colour in my work, by ways of the support. I was seduced by primary coloured fluorescent plexiglass that throws light on its edges. The challenge was to create a fascination for colour and light that would be mainly pictorial with this material heavily associated with design. Thus, I used the plexiglass as if it was the paint: paying close attention to the specific effects occurring in the material. To make the most out of it, I have given up patterns to favour gradients that occur when a thick coat of acrylic paint gets thinner and let the colour of the panel appear. These gradients alter the colours, make the panels opaque and reduce the quantity of light that gets through them.

I created 3D paintings that hang to the wall but juts out into the room to catch surrounding light. Contrasting coloured panels overlap, creating new colours, light effects, and veils. The wall itself, painted black under some paintings, changes their hue and enhance this layering. Reversible, the paintings look contradictory when seen from different sides. However, one can easily mentally deconstruct their components, entirely exposed. This power of a painting to create an illusion, even when its material reality lay bare, is an important part of this project. Between transparency and opacity, illusion and objecthood, these paintings embody contradictions.

 

All my gratitude to l’École des arts visuels et médiatiques and the Faculté des arts of UQAM, the Canada Council for the Arts and the Joe Plaskett Foundation for the financial support of this project. I would like to highlight the precious and tireless contribution of my skilful, intelligent and reliable studio assistant Éloïse Carrier. The technical support of David Allard Martin, Mario Baillargeon, Danny Glaude, Olivier Heaps-Drolet, Ianick Raymond and Jean Talbot were also essential to realizing this body of work.

Video: Guillaume Roy-Messier
Photographer: Jean-Michael Seminaro

Solo Exhibition: "Couleur et lumière" - Jan. 17 to Feb. 23 - Galerie Hugues Charbonneau, Montreal

Carré éclaté J/R + B + Blanc, 2018, Peinture acrylique sur panneau d’acrylique

Noir d’ivoire et blanc de Titane – Couleur et lumière
Galerie Hugues Charbonneau, Montréal
January 17 – February 23, 2019
Opening: January 16, 2019, 17 h

For her third solo exhibition at the gallery, Julie Trudel presents a series of new tridimensional paintings, continuing her previous exploration of color in transparency. It was during a residency in Berlin in 2015 that she first discovered a model of fluorescent plexiglas of which the borders throw light. All while keeping the constraint she imposed on herself in 2012 to paint exclusively in black and white, it’s through the support that she has reintroduced primary colours into her work.

The geometric compositions of the paintings blend matter to light to show color. Veils of translucent acrylic paint subtly change the shade of the panels and their level of transparency. Trudel attains this result by means of a rigorous artisanal method, discovered through experimental trials on plastic. The support is successively cut, polished, assembled, painted and thermoformed to create folds at precise angles. Through these interventions, Trudel is able to liberate the Plexiglas of its semiotic boundaries heavily associated with industrial plasticity, to bring it into the pictorial field. The result generates a visual complexity that reflects our era of omnipresent screens.

The artist would like to warmly thank l’École des arts visuels et médiatiques and the Faculté des arts of UQAM, the Canada Council for the Arts and the Joseph Plaskett Foundation for the financial support of this project. She would like to highlight the precious and tireless contribution of her skilful, intelligent and reliable studio assistant Éloïse Carrier. The technical support of David Allard Martin, Mario Baillargeon, Danny Glaude, Olivier Heaps-Drolet, Ianick Raymond and Jean Talbot were also essential to realizing this body of work.

Art Toronto Fair - Oct. 26 to 29 - Galerie Hugues Charbonneau

Rectangles repliés J/B R/B J/R + noir, 2018, acrylique sur feuilles d’acrylique, 60 x 40 x 11 po

Art Toronto Fair
Oct. 26 to 29 2018
With Galerie Hugues Charbonneau
Booth C17

Solo Exhibition : "Colour and Light" - Oct. 12 - Nov. 9 - NARS Foundation, Brooklyn

October 12 – November 9, 2018
Opening reception: October 12th, 6-9 PM
Project Space, NARS Foundation, Brooklyn

Having reduced my palette to black and white in 2012, I am trying, since 2015, to include ambient light in my work, by painting on clear acrylic supports (commonly known as plexiglass), using this material’s transparency, reflective properties, reversibility and plasticity. By adding light to the traditional aspects of abstract painting, I seek to create a visual complexity that speaks of our time in which the screen is everywhere. In this new project, I tried to reintroduce colour in my work, by ways of the support. I was seduced by primary coloured fluorescent plexiglass that throws light on its edges.

The challenge was to create a fascination for colour and light that would be mainly pictorial with this material heavily associated with design. Thus, I used the plexiglass as if it was the paint: paying close attention to the specific effects occurring in the material. To make the most out of it, I have given up patterns to favour gradients that occur when a thick coat of acrylic paint gets thinner and let the colour of the panel appear. These gradients alter the colours, make the panels opaque and reduce the quantity of light that gets through them.

I created 3D paintings that hang to the wall but juts out into the room to catch surrounding light. Contrasting coloured panels overlap, creating new colours, light effects, and veils. The wall itself, painted black under some paintings, changes their hue and enhance this layering. Reversible, the paintings look contradictory when seen from different sides. However, one can easily mentally deconstruct their components, entirely exposed. This power of a painting to create an illusion, even when its material reality lay bare, is an important part of this project. Between transparency and opacity, illusion and objecthood, these paintings embody contradictions.

My warmest thanks to École des arts visuels et médiatiques and Faculté des arts of Université du Québec à Montréal, the Conseil des arts et des lettres du Québec and the Joseph Plaskett Foundation, who supported the development of this project. I would also like to acknowledge the contribution of my skilful, intelligent and reliable studio assistant, Éloïse Carrier, as well as Danny Glaude, David Allard Martin, Jean Talbot and Mario Baillargeon, who helped resolve many technical challenges. Thanks to NARS Foundation for the opportunity to show this work.

Group exhibition: « À l'affiche : retour en arrière » - Sept. 6 to Oct. 13 - Arprim, Montreal

Le Magasin, Arprim, Montreal
September 6 – October 13, 2018
Opening: Sept. 6, 5:30 PM

Myriam Dion, Marc-Antoine K. Phaneuf, François Lacasse, Micah Lexier, Julie Trudel et Studio Feed

Le Magasin is delighted to start this new year by a group show looking back at the last 3 years of editions printed by À l’affiche project.

Thanks to the artists and Galerie Hugues Charbonneau.

Exhibition: "Entangled: Two Views on Contemporary Canadian Painting"

Polarisation NBNB, acrylique et gesso sur plexiglass, 205 x 101 cm (photo : Jean-Christophe Garcia)

Vancouver Art Gallery

September 30, 2017 to January 1, 2018

Curators: Bruce Grenville, Vancouver Art Gallery Senior Curator and David MacWilliam, artist and Emily Carr University of Art + Design professor

Entangled: Two Views on Contemporary Canadian Painting offers an insight into two distinctly different modes of painting that have come to dominate contemporary painting in this country. The origins of both can be effectively traced back to the 1970s, to a moment when the continued existence of painting was hotly debated. Within that debate two new strategies were devised, one that proposed the possibility of conceptual painting—a highly refined notion of painting that emerged from and returned to the idea—and a second, ambivalent proposition that valued actions and materials over ideas—in short, doing and making were pitted against ideas and concepts.

This exhibition traces the legacy of that debate and documents the work of 31 artists who have been largely responsible for the strong revival that painting now enjoys in this country. With work by artists from Halifax to Victoria and many places in-between, this exhibition offers a convincing survey of the lively debate that makes painting relevant and meaningful today.

Hired as Assistant Professor at UQAM

It is with great pleasure that I am joining the École des arts visuels et médiatiques at Université du Québec à Montréal as Assistant Professor. In addition to enjoying this unique opportunity to develop my practice and to share my passion for painting, I am heartened to join such a wonderful team for the long term. I attach the utmost importance to the spirit of research, the commitment, the generosity and the professional rigor embodied by my future colleagues. I hope to contribute to that spirit for a long time, little by little, growing year by year.

Transparence et distorsion (2016)

Noir d’ivoire et blanc de titane – Transparence et distorsion

Acrylic paint and gesso on acrylic panels

Galerie Hugues Charbonneau, Montreal, from April 16 to May 28, 2016
Anna Leonowens Gallery, NSCAD University, Halifax, from November 17 to 28, 2015

Each piece is created on a very thin sheet of Plexiglas painted on one side before being bent into three sections through thermoforming. Two sections are painted in flat black tints, giving them a mirror-like quality, or in white, which reflects light. The third section is clear and covered in a pattern of translucent dots that seem to break away from the surface, producing the illusion of movement and depth. The folding of the two panels on either side of the central one produces a complex interplay of reflections between the three sections, while the concave shape it creates captures light and multiplies the effect of transparency or distortion within the cluster of dots. The choice of Plexiglas has deepened my research into the materiality of colour and light. The painting’s presentation in the gallery allows viewers to experience their near-sculptural nature as they extend into the exhibition space, and to witness how dramatically their appearance shifts depending on the angle of view.

All my gratitude to the Joseph Plaskett Foundation, the Triangle Arts Association, NSCAD University and the Robert Pope Foundation, who supported the development of this new project. My warmest thanks to my skilful and reliable studio assistants, Katie Lesser and Arkadi Lavoie Lachapelle, as well as Donald Thompson, Martin Schop and Atelier Clark, who helped resolve many technical challenges.

Photos: Guy L’Heureux

Tableaux grand format (2015)

Noir d’ivoire et blanc de titane – Tableaux grand format

Acrylic paint and gesso on acrylic panel

Galerie des Étables, Bordeaux, France, from December 11, 2014 to January 24, 2015

Choosing to paint exclusively in black and white represented a devious challenge: borrow a constraint from optical painters I admire while using opposite pictorial processes. Therefore, instead of deliberately painting colour patterns, I allowed matter itself to (de)form them. In my most recent project, I used thin flexible plexiglass panels. With my assistant’s help, I covered these supports with fresh paint and manipulated them in order to induce a displacement of liquid paint. The pattern of dots and trails that is generated by this process traces contradictory movements within the painting.

Thanks to: Centre Clark (Montreal) and the wonderful team at Zébra3 (Bordeaux) for being so welcoming and supportive. Above all, special thanks to Amélie Boileux for her invaluable contribution to this project.

Photos: Jean-Christophe Garcia.