Première impression
The finalists of the 2021 Albert-Dumouchel Prize for the next generation
In my practice, I explore the heritage of the human in that it is different from that of the animal or the artificial intelligence. Different themes feed my creation including dream, mythology, symbol. My exploration is done through different media (painting, sculpture, collage, printmaking, textile, embroidery, installation), but always based on the living model. The sketches made during the live model drawing sessions are directly supporting and inspiring and transforming my work. I thus divert the usual codes of the sketch of the living model (sobriety, monochrome, details) to illustrate with many colors and media the richness of the human experience.
Born in St-Nicéphore, she lives and works in Rouyn-Noranda. Holder of a certificate in visual arts and artistic production, she is pursuing a graduate micro-program in contemporary artistic practices at the University of Quebec in Abitibi-Témiscamingue. She was selected by Arprim as a finalist for the Albert-Dumouchel Prize for emerging artists in printed arts in 2021, by the Galerie Gallea to appear in the “Artistes du Québec” collection and internationally in 2021 she was selected by Prisma Art Prize (Rome). We have been able to see his work, among others, at the Center d’Exposition de Val d’Or, the Center d’exposition d’Amos, the Galerie du Rift (Ville-Marie, QC), the Maison des Arts (Drummondville ), at the MA Museum of Art (Rouyn-Noranda). Her art work is also found at the Banque et Archives national du Québec and in several private collections.
Linocut and lithograph. Arches 88 paper. 2020. 56 x 36 cm. photo credit @Sylvain Tanguay.
Several different fields (pharmacology, transhumanism, ecology, robotics, etc.) attempt to understand the technological future and its impact on the human body.
Creating chimeras represents for me a way of bringing together all these visions in order to think about the future society and the risks of ethical slippage,
such as the commercialization of biological material. Human Chimeras brings together a set of creations/creatures reproducing a possible future store of organic parts
sold at retail. The use of sewing pattern paper highlights the way in which these beings could be made from a matrix diagram allowing a biological replacement part to be
reproduced in as many quantities as necessary. The mirror allows the viewer to find themselves involved in it. It also symbolizes the soul that could find itself
in this trap of extreme exploitation of a life form. Black light reading makes it possible to detect wounds and suffering that are not visible in daylight.
Paper and fabric are made of fibers and are reminiscent of muscle fiber. They are suitable for gluing and sewing. They can serve as a screen to receive information,
they can be engraved or embroidered. All this can also be said about humans. Digital art and black light symbolize nervous impulses, the electricity that animates living
beings.
This work explores identity through a different body. I seek to see if there is a threshold that separates humanity on one side and non-humanity on the other
through a transdisciplinary approach combining my scientific, artistic and humanist experience.
Exhibition:
Detached pieces. Céline J. Dallaire Contemporary Art Gallery, Rouyn-Noranda, QC, Canada. 2021
Collagaphy and lithogaphy. Arches paper 88. 56 x 36 cm. 2020. crédit photo @Violaine Lafortune
My project, My Spinners, consists of works embroidered mainly by hand, but also by machine, on 28 x 20 in. Fabriano paper.
Each represents a female character from Greek mythology related to the theme of the thread: Ariadne, Penelope and Arachne.
Ariane stands alone at the entrance to a digital labyrinth and keeps Thésée at the end of her social networks.
Arachne is condemned to survive by constantly spinning to attract prey into her web.
Likewise, you can spend most of your life on the web, trapped in having to constantly create new content to attract likes.
Penelope, with her cunning and patience, builds on her loom the framework on which the binary code will emerge, a prelude to the computer world which will overwhelm society.
These three women used the thread to take an active part in their destiny.
They refused to confine themselves to the space of witness that society expects of them; with different results: one is rewarded with abandonment,
the other is punished by being transformed into a spider, and the last is victorious because her scheme lasted long enough for Odysseus to return home.
Exposure:
Espac.es témoins. L’Écart, contemporary art venue, Rouyn-Noranda, QC, Canada. 2023
Drypoint etching and linocut. Arches paper 88. 36 x 56 cm. 2020. photo credit @Sylvain Tanguay
Collagraphy and linocut. Arches 88 paper. 2020. 56 x 36 cm. photo credit @Sylvain Tanguay.
Défi ou jeu ?, 2020
Techniques: woodblock, linogravure and chine-collé
Paper: BFK Rives
Print: 3
Size: Image: 30 x 23 cm. Paper: 51 x 41 cm
Ink drawing marouflé on board with encaustic and wire, 30.5 x 30.5 cm, 2018
crédit photo: Cesar Vianna
lithography and drypoint engraving. 56 x 36 cm. Arches 88 paper. photo credit @Sylvain Tanguay
“Femme mélodieuse” is part of a series of prints entitled “Mélusine” which is inspired by a medieval myth and which speaks to me of the quest for humanity, mystery, trust in others, the monstrous part that you want to hide.
Collagraphy and drypoint, 30 x 40 cm, 12 x 16 in, 2021
“Fée secrète” is part of a series of prints entitled “Mélusine” which is inspired by a medieval myth and which speaks to me of the quest for humanity, mystery, trust in others, the monstrous part that you want to hide.
Collagraphy and drypoint, 30 x 40 cm, 12 x 16 in, 2021
Collection privée, collagraphy, 2017
crédit photo: Cesar Vianna
“Prudence et mystère” is part of a series of prints entitled “Mélusine” which is inspired by a medieval myth and which speaks to me of the quest for humanity, mystery, trust in others, the monstrous part that the we want to hide.
Collagraphy and drypoint, 20 x 25 cm, 8 x 10 in, 2021
My approach for this project: Cyborgs, genetic manipulation, implants, augmented reality, cloning are knocking on our door. The myth of Hephaestus, blacksmith god,
and his automatons becomes current. The automaton is an artificial being created to carry out a specific task. He has a resistance that approaches immortality.
The automaton frees humanity from the need to work and can prove beneficial. But its superior design makes possible the withering of humans and the disappearance of humanity.
Could computing, artificial intelligence and robotics be the descendants of Hephaestus?
Can knowledge transform inanimate matter into an intelligent instrument without threatening the human world?
The black of the ink leads me to deepen these dualities: man-machine, blessing-curse, liberation-enslavement.
Prints bringing together different techniques and different black inks on white paper will demonstrate my attempts to give shape and life to a creation.
The substrate, instead of metal, will be paper. Ink will be the means of arranging the concepts together and merging them.
Set of 6 prints, each made up of two different engraving techniques.
Tarzan 3.0 Collagraphy and linocut. Arches paper 88. 56 x 36 cm. 2020
Animatronic Pointe sèche and linocut. Arches paper 88. 56 x 36 cm. 2020
Neurobricolée Lithography and collagraphy. Arches paper 88. 56 x 36 cm. 2020
Boxeur amélioré Linocut and lithography. Arches paper 88. 56 x 36 cm. 2020
Travailleuse du clic Lithography and pointe sèche. Arches paper 88. 56 x 36 cm. 2020
CENDR-1-0N Collagraphy and pointe sèche. Arches paper 88. 56 x 36 cm. 2020
Collectives exhibitions:
Le noir de l’encre. Centre d’exposition d’Amos, QC. Canada. 09/2021
Le noir de l’encre. MA, Musée d'art Rouyn-Noranda, QC, Rouyn-Noranda. Canada. 01/2021
Shower curtain, acrylic siren on kraft paper cut and sewn on the curtain, ribbons, mulberry paper with pastel self-portraits and Indian ink.
Private collection. Ink drawing mounted on panel with encaustic and thread, 28 x 36 cm, 2018
crédit photo: Cesar Vianna
Collagraphy and drypoint engraving. Arches 88 paper. 2020. 56 x 36 cm. crédit photo @Violaine Lafortune
Private collection, ink drawing mounted on panel with encaustic, 30.5 x 30.5 cm, 2018
Private collection, lithography mounted on board with encaustic and golden thread, 30.5 x 30.5 cm, 2018
crédit photo: Cesar Vianna
Lithographie, 2017
crédit photo: Cesar Vianna
Private collection, Chinese ink drawing mounted on panel with encaustic and embroidery thread, 41 x 51 cm, 2018
crédit photo: Cesar Vianna
Sketch made during a live model session.
Ink on Arches 88 paper, 56 x 78 cm.
2020
“La Dame de la fontaine” is part of a series of prints entitled “Mélusine” which is inspired by a medieval myth and which speaks to me of the quest for humanity, mystery, trust in others, the monstrous part that you want to hide.
Collagraphy and drypoint, 40 x 50 cm, 16 x 20 in, 2021
Ink drawing marouflé on board with encaustic and embroidery thread and metallic , 22.8 x 30.5 cm, 2018
crédit photo: Cesar Vianna
“La serpente” is part of a series of prints entitled “Mélusine” which is inspired by a medieval myth and which speaks to me of the quest for humanity, mystery, trust in others, the monstrous part that you want to hide.
Collagraphy and drypoint, 40 x 30 cm, 16 x 12 in, 2021
Acrylic on paper mounted on wood panel, 61×91.5 cm, 2017
crédit photo: Cesar Vianna
The raft of the abused is a three-dimensional installation that symbolizes the imminent deterioration of the health care system and the distress of health care professionals.
Made up of metal blocks reminiscent of individuals, held together by tubing and red solutes, this work denounces the difficult working conditions and the stress faced by
caregivers. The sail patched with bandages evokes the imminence of a storm, while white shapes deployed on the ground reinforce the disturbing atmosphere of the installation.
Illuminated by colorful lighting, this immersive work invites the viewer to reflect on the themes of transformation and disarray in the field of health.
Metal Cylinders, Linoleum, Medical Equipment, Black Light, Visual and Sound Projection
Crédit photo: Christian Leduc
Exhibition:
De la lumière, tout près. MA, Musée d’Art, Rouyn-Noranda, QC, Canada. 2019 |
A work consisting of an assembly of collagraph matrix, linocut matrix, polyester plates and copper wires on a circular and mobile structure, the spectator is invited to rotate the work and the polyester plates move according to the wire axis. Diameter of 122 cm, 2018 Crédit photo: Violaine Lafortune
Ink drawing mounted on panel with encaustic and wire, 36 x 46 cm, 2018
crédit photo: Cesar Vianna
Ensembles pour l’éternité, 2021,
Digital print, edition of 3,
Image size: 16 x 16 cm image (6 1/4 x 6 1/4 in)
“Robe d’émeraude” is part of a series of prints entitled “Mélusine” which is inspired by a medieval myth and which speaks to me of the quest for humanity, mystery, trust in others, the monstrous part that the we want to hide.
Collagraphy and drypoint, 40 x 50 cm, 16 x 20 in, 2021
Private collection, ink drawing mounted on panel with encaustic and wire,22.8 x 30.5 cm, 2018
crédit photo: Cesar Vianna
Private collection. Acrylic on paper mounted on wood panel. 41×30.5 cm. 2018
crédit photo: Cesar Vianna
23:59.
Dive into the thought-provoking installation, “23h59,” a captivating blend of traditional and contemporary art. This artwork showcases a staircase adorned with printed paper depicting images of wounded feet on a wooden floor. A luxurious burgundy fabric elegantly drapes around the structure, creating a theatrical presentation that hints at a significant event or ritual. High-heeled shoes and small video monitors add elements of human presence and technology, inviting contemplation. Inspired by the timeless tale of Cinderella and the societal pressures faced by women, this artwork seamlessly weaves together art, storytelling, medical imagery, sewing, and digital art. Assembly sewn in patchwork of mokulithography prints on Mulberry paper deposited on red velvet steps, 8 ” x 10 ” screen hosting a 1-minute animation of a series of ball shoes lithography through eras, shoes. Height: 240 cm x Width: 213 cm, 2020. Photo credit: Émilie B. Côté.
Exhibitions:
Première impression. Finaliste pour le Prix Albert-Dumouchel pour la relève 2021. Arprim, centre d’essai en art imprimé, Montréal, QC, Canada. 2021
23h59. Atelier les Mille Feuilles centre d’art imprimé, Rouyn-Noranda, QC, Canada. 2021 Mémoires et médiations. Galerie du Rift, Ville-Marie, QC, Canada. Commissaire : Martin Beauregard. 2020 |
Private collection. Acrylic on canvas. 76 x 61 cm. 2018
crédit photo: Cesar Vianna
Cylinders cardboard of variable height, hanging on a ceiling of 16 ‘, with drawing in acrylic, golden painting and golden ribbon.
Collagraphy, 19x22cm, 2017
crédit photo: Cesar Vianna
Acrylic on paper mounted on wood panel. 41 x 30.5 cm. 2018
crédit photo: Cesar Vianna
Private collection, ink drawing mounted on panel with encaustic, 30.5 x 30.5 cm, 2018
This series is inspired by a medieval myth which deals with the quest for humanity, mystery, trust, the monstrous part of oneself that one wishes to hide.
I put my inks, my matrices and my needle at the service of this legend, in order to represent the hybridity of Mélusine woman and fairy, human and animal, lover and mother.
Acrylic on canvas. 91.5 x 91.5 cm, 2018
crédit photo: Cesar Vianna
Inspired by the piece "Inhabiting the Lands", this work embodies the concept of inhabiting one's interior. It explores the duality of human nature and the constant cycle of life, inviting viewers to reflect on their own journey through their inner world.
What sets “Inland Land” apart is its unique design and construction. The circular structure, mounted on a base which allows it to rotate 360 degrees, creates a sensation of movement and fluidity. The figures on white paper move along copper wires, adding a dynamic element to the piece.
Collagraphy matrix mounted on a rotating base, linocut matrix at the periphery, lithography matrices on a polyester plate moving on copper wire, plush used for printing. The spectator is invited to turn the work and see moving the characters on the back of the bear.
Crédits photos: Dany Chouinard
Exhibitions:
Matrices …d’elles-mêmes. Centre d’exposition d’Amos, QC, Canada. Commissaire : Yolaine Lefebvre. 2019
Matrices… d’elles-mêmes. Centre d’exposition de Val d’Or, QC, Canada. Commissaire : Yolaine Lefebvre. 2018 |
Lithography un paper BFK Rives, 29 x 45.5 cm, 2017
crédit photo: Cesar Vianna
Acrylic on paper mounted on wood panel. 36 x 46 cm, 2018
crédit photo: Cesar Vianna
Ink drawing marouflé on board with encaustic and metallic wire, 28 x 36 cm, 2018
crédit photo: Cesar Vianna
Astrology can be seen as a way of explaining the world, of giving meaning, of trying to gain control over one's life.
This series is a pretext to feature characters grappling with the iconographic characteristics of each of the twelve signs of the zodiac.
The mixture of contemporary postures and traditional astrological symbolism creates an atmosphere that is both strange and familiar.
Artist's book. Linocut and chine collage prints. Handmade box
Exhibition:
Mille constellations. Centre d’exposition d’Amos, QC. Canada. 06/2016
Recycled wood pallets, mirror glued to the bottom of the box, fabric, pasted paper mask, string lights
Crédit photo: Cesar Vianna
Chinese ink drawing marouflé on panel with encaustic and embroidery thread, 20.3 x 25.4 cm, 2018
crédit photo: Cesar Vianna
Acrylic on canvas , 61×91.5 cm, 2017
crédit photo: Cesar Vianna
Acrylic on canvas. 61 x 76 cm. 2018
crédit photo: Cesar Vianna
Private collection, ink drawing mounted on panel with encaustic and wire, 20.3 x 25.4 cm, 2018
crédit photo: Cesar Vianna
The finalists of the 2021 Albert-Dumouchel Prize for the next generation
The chimera is a fabulous animal from Greek mythology. Chimeras are beings bringing together cells from two different origins. How did we get from one to the other? "Pièces détachées" takes a look at the morality of certain genetic manipulations and questions the risks of ethical slippages, such as the commercialization of biological material.
My automatons. Man-machine, benefit-curse, liberation-enslavement: the black ink leads to deepen these dualities. Prints combining techniques and black inks on white paper bear witness to my attempts to give shape and life to a possible future.