Solo Exhibition : "Colour and Light" - Oct. 12 - Nov. 9 - NARS Foundation, Brooklyn
Group exhibition: « À l'affiche : retour en arrière » - Sept. 6 to Oct. 13 - Arprim, Montreal
Exhibition: "Entangled: Two Views on Contemporary Canadian Painting"
Hired as Assistant Professor at UQAM
Silkscreen print sale for Arprim fundraiser
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.
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.
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.
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.
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.
Interview with NSCAD University blog about my research residency there in the fall 2015.
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
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.
Camille, Marc, « Dans les galeries : peinture-mouvement », Junkpage, #19, January 2015, Bordeaux, p. 15. (in French)
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.
Noir d’ivoire et blanc de titane
Acrylic paint and gesso on MDF, mounted on Baltic birch plywood
Maison de la culture Notre-Dame-de-Grâce, Montreal, from January 23 to March 9, 2014
This series of paintings was created using ivory black and titanium white pigments that were diluted with a great quantity of acrylic medium in order to make them translucent. Stimulated by the challenge arising from this constraint, I sought to let an intense visual depth emerge, beyond the simplicity of grayscale. The superposition of a fine coat of liquid color on black or white panels allows the emergence, through transparency, of very peculiar shades of black, brown and gray. A dotted pattern with trails reflects the displacement of paint on a flexible support that was curved. The result is a corpus of works that is both simple and complex, optical and material, controlled and unpredictable.
Clément, Éric, « La peinture comme expérience », La Presse+, February 27, 2014, arts section, screen 13. (in French)
Thanks to: Darling Foundry and Astérides.
Photos: Martin Désilets.
Noir de fumée et blanc de titane
Acrylic paint and gesso on Baltic birch plywood
Galerie Hugues Charbonneau, Montreal, from November 9 to December 14, 2013
L’imagier, Gatineau, from January 17 to March 9, 2014
Galerie Colline, Edmundston, New Brunswick, from September 13 to October 20, 2013
These paintings were created using exclusively lampblack and titanium white pigments. The pure colors were simply diluted with a great quantity of gloss acrylic medium. By varying their degree of transparency and opacity, I was surprised to see a wide array of grays, with hints of color ranging from blue to brown, appear. Every series was created using a dripping process, which induces a predictable yet unique pattern. I used the various combinations of a color range limited to three shades of black and three shades of white, paying attention to the moments where a unified surface takes shape, while still hinting at the underlying layers below.
Press Release, Galerie Hugues Charbonneau
Charron, Marie-Ève, « Un programme en noir et blanc », Le Devoir, November 30, 2013, E9. (in French)
Cucchi, Maud, « Tons et textures à L’imagier », Le Droit, February 1, 2014. (in French)
Photos: Éliane Excoffier and Martin Désilets.
CMYK – Phase 2
Acrylic paint, gesso and screen printing ink on Baltic birch plywood
Optica, Montreal, from May 12 to June 16, 2012
Two series of paintings coexist and mingle in the gallery space. The Ellipses en transit are painted drop by drop like the paintings from phase 1, but part of the circular support is left exposed. From one painting to the other, I varied the color order (YCM, CMY, MCY, and so on). The illusions of depth or torsion that appear in the painted ellipse are contradicted by the marked presence of the wooden support, creating a spatial tension. The Flaques are made from a superposition of CMY or CMYK paint drops, of which I altered the transparency. A hint of white paint is often added to the mixture, changing the color tone from light to dark and its materiality from transparent to translucent.
Publication: Bédard, Geneviève, Julie Trudel : Projet CMYK – phase 2, Optica, un centre d’art contemporain, 2012, Montreal.