Matière lumière (2022)

Two-minute documentary video.


Matière lumière

Nancy Bussières
Julie Trudel
Curator: Émilie Granjon

Light scores on paintings comprised of plexiglas panels
Length: 25 minutes

Salle de diffusion de Parc-Extension, Montreal, June 30 to August 21, 2022

The Matière lumière installation introduces a new artistic form borne from the merger of painting, sculpture, light art, and scenography. Painter Julie Trudel and stage designer Nancy Bussières combine their artistic expressions to develop a hybrid language made from matter and light. The light scores reveal, mask or amplify the physical presence of the pictorial objects, to the point that the viewer’s gaze is led to discover hidden worlds within the matter-colour-light. In the dimly lit exhibition room, the works come to life slowly or quickly, leading the viewer’s eye to a retinal overactivity as it continually adapts to change. They are caught off guard. The subtle joins forces with the complex to exacerbate the senses; everything makes sense!

Émilie Granjon, curator

The artists acknowledge the steadfast support of the Salle de diffusion de Parc-ExtensionN staff, to whom they extend their warmest gratitude. They also thank the organizations that supported the production of this exhibition: Conseil des arts et des lettres du Québec, Hexagram-UQAM, Faculté des arts de l’UQAM, École des arts visuels et médiatiques de l’UQAM, École supérieure de théâtre de l’UQAM, Galerie de l’UQAM, Centre Clark, as well as Arprim, centre d’essai en art imprimé.

Photographer: Morgane Clément-Gagnon
Videographer: Yves Dubé

Réflexion, couleur et lumière (2022)

90-second video



Réflexion, couleur et lumière

Sanded, folded and assembled colored acrylic sheets

Galerie Hugues Charbonneau, Montreal, from March 30 to April 30, 2022

Material, volume, colour, light. These are the core components in Julie Trudel’s practice. In contemporary terms, there’s a link here to the elemental concerns and exploratory geometries of Minimalism. (The work of Donald Judd, for example, is a key reference for Trudel.) Yet, Trudel’s shaped, sculptural forms, whether wall-mounted or freestanding, channel these perceptual elements into works that expand beyond the fundamentals. It’s a process as deeply informed by her sensitivities as a painter as it is by an abiding curiosity in both the technical complexities and expansive potential of form and luminosity. Consider the triptych Triptyque spécifique, where thin surface layers of backing paint and mirrored coating have been selectively removed from industrial-grade, coloured Plexiglas panels, which are then set in triangular compositions that extend horizontally from the gallery wall. Or Polyptyque spécifique with its heat-molded lengths of red, blue, and yellow mirrored Plexiglas rising from the gallery floor in a screen of accumulated form. Ambient light is the active agent, seeping through and reflecting off Trudel’s angular surfaces and open volumes to create luminous plays of colour and shadow in varying intensities (Trudel calls it “painting without paint”) while at the same time implicating the viewers in their own mirrored presence. Think of these, perhaps, as a series of experimental proposals or studies in compositional contradiction, where the infinite becomes finite, and the finite becomes infinite. — Bryne McLaughlin


The artist warmly thanks École des arts visuels et médiatiques and Faculté des arts of Université du Québec à Montréal, who supported the development of this project. She would also like to acknowledge the invaluable contribution of the various studio assistants who took part in the project: Éloïse Carrier, Raphaëlle Groulx-Julien, Vincent Lussier and Maria Claudia Quijano. The technical support of Mario Baillargeon, Alexandre Bérubé, Danny Glaude, Olivier Heaps-Drolet, Geneviève Le-Guerrier-Aubry and Christine Terreault was essential as well.

Photographer: Alex Pouliot

Couleur et lumière (2018)

2-minute 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

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.

Noir d'ivoire et blanc de titane (2014)

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.

Thanks to: Darling Foundry and Astérides.

Photos: Martin Désilets.

Noir de fumée et blanc de titane (2013)

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.

Thanks to: Est-Nord-Est artist residency and Conseil des arts et des lettres du Québec.

Photos: Éliane Excoffier and Martin Désilets.

CMYK - Phase 2 (2012)

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.

Thanks to the Canada Council for the Arts.

Photos: Richard-Max Tremblay.

CMYK - Phase 1 (2011)

CMYK – Phase 1

Acrylic paint and screen printing ink on Baltic birch plywood

Maison de la culture Maisonneuve, Montreal, from December 2, 2011 to January 8, 2012
Parisian Laundry, “Collision 8”, Montreal, from March 2 to 17, 2012

I restricted my palette to the four colors of print: cyan, magenta, yellow and black (known as the acronym CMYK). Paintings are made following a fairly straightforward process: liquid paint is poured drop by drop according to a controlled dripping method. As the paint is being poured, I observe the physical and optical mix of pure colors. For the Tondos CMY en déplacement series, the size of the support varies, but the painted concentric pattern keeps the same diameter. This creates an impression of cropping, which leads to an illusion of volume on some paintings. The Ellipses series shows nine possible variations of CMYK colors. Taken together, those paintings appear as if cut from a virtual pictorial space that would stretch beyond their limit. The two series are hung by aligning the centers of the painted patterns.

Thanks to: Fonds de recherche société et culture du Québec.

Artwork photos: Richard-Max Tremblay. Exhibition views: Julie Trudel.

rgb(127, 28, 174) [...] – Tondos (2010)

rgb(127, 28, 174) rgb(238, 238, 0) rgb(229, 229, 229) – Phase 2: Tondos

Acrylic paint on Baltic birch plywood

L’art passe à l’Est, “Liaisons insolites”, Montreal, from February 27 to March 18, 2010
Art Mûr, “Peintures fraîches et nouvelle construction”, Montreal, from July 15 to August 21, 2010

Using liquid acrylic paint, I prepared a chaotic mix of three colors (pink, gray, yellow) that I poured drop by drop in a spiral pattern following the edge of the painting. The drops coalesce to create a smooth surface where color varies randomly according to the proportion of colors being used or the way paint is mixed. The regular pattern is set in motion by color. The appearance of the paintings may remind weaving, some effects obtained with image processing software, as well as optical art.

Thanks to: Social Sciences and Humanities Research Council of Canada.

Photos: Catherine Tremblay.