Première impression
The finalists of the 2021 Albert-Dumouchel Prize for the next generation
-
My finery is interiorPrivate collection. Acrylic on canvas. 76 x 61 cm. 2018 crédit photo: Cesar Vianna -
Ball Shoe in 2000Lithography. Print 1/4. 20 x 28 cm. Yupo paper. 2020 -
Résille et draps bleus.Ink and Charcoal on paper Arches 88. 56 x 78 cm. 2018
Approach
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.
Biography
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.
Education and Training
- 2021-in progress Microprogramme en pratiques artistiques contemporaine, UQAT, Rouyn-Noranda, QC, Canada.
- 2021 Certificate in artistic production, UQAT, Rouyn-Noranda, PQ.
- 2019 Certificate in fine arts, UQAT, Rouyn-Noranda, PQ.
- 2005 Microprogram, second cycle in art-therapy, UQAT, Rouyn-Noranda, PQ.
- 1991 Medical Doctorate, Graduate dipoloma in Family Medecine, Sherbrooke University, Sherbrooke, PQ.
Further training/courses
- 2019 Training printed art, Centre de la Gravure et de l’image imprimée, La Louvière, Belgium
- 2019Training in lithography on polyster plaques, Atelier Les Mille Feuilles, by Joanne Poitras, 30 hrs of training and 30 hrs of supervised workshops.
- 2017 Accompanyment in linoengraving, lithography on polyster plaques, and collagraphy , Atelier Mille Feuilles, Rouyn-Noranda, with Louis Brien and Brigitte Gagnon.
- 2017 Training in lithography on polyester plaques by Joanne Poitras. Atelier les Mille Feuilles. Rouyn-Noranda, PQ.
- 2016-in progress Coaching workshops in painting with Martine Savard, Musée d’Art Rouyn- Noranda, PQ.
- 2016-in progress Drawing workshops – live models with Martine Savard, Musée d’Art, Rouyn-Noranda, PQ
- 2016 Writing fiction. Training given through the CCAT, with Michèle Plomer, Rouyn-Noranda, PQ.
- 2004-2006 Oil painting course with Diane Auger, Rouyn-Noranda, PQ.
- 2005 Intensive week of encaustic training with Julie Desmarais, École des Beaux-Arts Rosa Bonheur, Palmarolle, PQ.
Solo exhibition
- 2021 Pièces détachées. Galerie d’art contemporain Céline J. Dallaire, Rouyn-Noranda, QC, Canada.
- 2021 23h59. Atelier les Mille Feuilles centre d’art imprimé, Rouyn-Noranda, QC, Canada
- 2018 Groupe au diapason, Diocesan Training Centre, Rouyn-Noranda, PQ
Collective exhibitions
- 2021 Le noir de l’encre. Centre d’exposition d’Amos, QC. Canada.
- 2021 Première impression. Finaliste pour le Prix Albert-Dumouchel pour la relève 2021. Arprim, centre d’essai en art imprimé, Montréal, QC, Canada
- 2020 Mémoires et médiations, Galerie du Rift, Ville-Marie, QC, Commissioner : Martin Beauregard
- 2020-01 Matrices d’elles-mêmes II, Centre d’Art Rotary, La Sarre, PQ.
- 2019-06 Mille Constellation, Centre d’exposition of Amos, PQ.
- 2019-06 Matrices d’elles-mêmes, Commissioner : Yolaine Lefebvre, Centre d’exposition of Amos, PQ.
- 2019-05 De la lumière, tout près, MA, Musée d’Art of Rouyn-Noranda, PQ.
- 2018 Matrices d’elles-mêmes, Commissioner : Yolaine Lefebvre, Centre d’exposition of Val d’Or, PQ
- 2018 Les ateliers créatifs s’exposent, MA, Musée d’Art of Rouyn-Noranda, PQ.
- 2018 Modèles vivants en stéréoscopie. Duo. Galerie La Fontaine des Arts. Rouyn- Noranda, PQ.
- 2016 Exhibiton by students coached in painting, Musée d’Art, Rouyn-Noranda, PQ.
Events
- 2021 11E Internationale d’art miniature. Centre d’exposition Louise-Carrier, Lévis, QC, Canada. Jury.
- 2018 Biennale internationale d’art miniature, Ville-Marie, PQ.
Auction and expo-sales
- 2019 Parle-moi d’amour, Exhibition benefit, Maison des arts, Drummondville, PQ.
- 2018 100$ du pied carré. Exhibition benefit of L’Écart, lieu d’art actuel, Rouyn-Noranda, PQ.
- 2018 Décembre aux Mille Feuilles, Atelier les Mille Feuilles, Rouyn-Noranda, PQ.
- 2017 100$ du pied carré. Exhibition benefit of L’Écart, lieu d’art actuel, Rouyn-Noranda, PQ.
- 2017 Décembre aux Mille Feuilles, Atelier les Mille Feuilles, Rouyn- Noranda, PQ.
- Conferences/round-table discussions/meetings with the public
- 2018 Guest speaker at an introductory art therapy course, UQAT, Rouyn-Noranda, QC.
Memberships
- Member of Conseil de la Culture de l’Abitibi-Témiscamingue
- Member of l’Écart, lieu d’art actuel, Rouyn-Noranda, PQ.
- Member of Musée d’Art, Rouyn-Noranda, PQ.
Work
All categories
Painting
Installations
Sculpture
Encaustic
Drawing
Printed Art
Les bas tigrés.
Ink on paper Arches 88.
56 x 78 cm.
2020
The passers
Encaustic on pannel , 30.5 x 30.5 cm, 2017
Fée secrète
“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
It’s Nobody who did this to me (says the Cyclops)
Chinese ink drawing marouflé on panel with encaustic and embroidery thread, 20.3 x 25.4 cm, 2018
crédit photo: Cesar Vianna
Out of nothing
Lithographie sur papier Arches 88, 25 x 37 cm, 2019
The Phoenix-woman
Acrylic on paper mounted on wood panel. 36 x 46 cm, 2018
crédit photo: Cesar Vianna
On which foot to dance …
Lithographie on Yupo paper, 28 x 43 cm, 2019
Ready, set, go
Acrylic on paper mounted on wood panel, 61×91.5 cm, 2017
crédit photo: Cesar Vianna
Ball Shoe in 1700
Lithography. Print 1/7. 20 x 28 cm. Yupo paper. 2020
Neurobricolée
Collagaphy and lithogaphy. Arches paper 88. 56 x 36 cm. 2020. crédit photo @Violaine Lafortune
23:59
23:59.
Installation. 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.
Breaking
Ink on Papier Fabriano, 56 x 76 cm, 2019
Fallen from the moon
Private collection, ink drawing mounted on panel with encaustic, 30.5 x 30.5 cm, 2018
Hot tears
Ink on paper BFK Rives, 76 x 56 cm, 2018
Couler dans le bleu.
Ink on paper Arches 88.
56 x 78 cm.
2020
Libra
Linocut with chine-collé
Arches 88 paper
Come what may.
Private collection. Acrylic on paper mounted on wood panel. 41×30.5 cm. 2018
crédit photo: Cesar Vianna
My finery is interior
Private collection. Acrylic on canvas. 76 x 61 cm. 2018
crédit photo: Cesar Vianna
La serpente
“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
The angel chained
Acrylic on canvas. 91.5 x 76 cm. 2017
Troubling assistance
Acrylic on paper mounted on wood panel. 41 x 30.5 cm. 2018
crédit photo: Cesar Vianna
Rousse aux draps bleus.
Ink on paper Arches 88.
56 x 78 cm.
2018
Sylphide
Lithographie sur papier Arches 88, 18 x 14.5 cm, 2019
Gemini
linocut with chine-collé, 11.5 x 11.5 cm
Arches 88 paper
Robe noire de dos.
Gouache and ink on paper BFK Rives.
76 x 56 cm.
2018
CENDR-1-0N
Collagraphy and drypoint engraving. Arches 88 paper. 2020. 56 x 36 cm. crédit photo @Violaine Lafortune
La futilité de la résistance.
lithography and drypoint engraving. 56 x 36 cm. Arches 88 paper. photo credit @Sylvain Tanguay
Group in tune
Cylinders cardboard of variable height, hanging on a ceiling of 16 ‘, with drawing in acrylic, golden painting and golden ribbon.
The fall of Icarus
Private collection, Chinese ink drawing mounted on panel with encaustic and embroidery thread, 41 x 51 cm, 2018
crédit photo: Cesar Vianna
Naissance d’une fée.
Ink, pastel and collage of thread on BFK Rives paper.
56 x 76 cm.
2018
Sacrifice consented
Clay bas relief, 76 cm x 56 cm, 2018
Résille et draps bleus.
Ink and Charcoal on paper Arches 88.
56 x 78 cm.
2018
Ball Shoe in 1600
Lithography. Print 1/6. 20 x 28 cm. Yupo paper. 2020
Whitney-de-l’écume
Ink drawing mounted on panel with encaustic and wire, 36 x 46 cm, 2018
crédit photo: Cesar Vianna
Ball Shoe in 1800
Lithography. Print 1/3. 20 x 28 cm. Yupo paper. 2020
Cancer
linocut and chine-collé
Animatronic
Drypoint etching and linocut. Arches paper 88. 36 x 56 cm. 2020. photo credit @Sylvain Tanguay
Goddess of the moon
Private collection, ink drawing mounted on panel with encaustic, 30.5 x 30.5 cm, 2018
Scorpio
linocut with chine-collé
Arches 88 paper
Introspection
Lithography on Yupo paper, 28 x 43 cm, 2019
Ball Shoe in 1500
Lithography. Print 1/4. 20 x 28 cm. Yupo paper. 2020
Aspiration
Ink on Papier Fabriano, 56 x 76 cm, 2019
Transmission
Papier Somerset, 56 x 76 cm, 2018
She, in the boat
Acrylic on canvas , 61×91.5 cm, 2017
crédit photo: Cesar Vianna
Nu aux draps de bronze.
Ink on paper Arches 88.
56 x 78 cm.
2020
Exiled
Ink on paper Sommerset, 56 x 76 cm, 2018
Ball Shoe in 1900
Lithography 1/4. 20 x 28 cm. Yupo paper, 2020.
La Dame de la fontaine
“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
Sagittarius
linocut with chine-collé
Arches 88 paper
The Pan-Woman
Ink drawing marouflé on board with encaustic and metallic wire, 28 x 36 cm, 2018
crédit photo: Cesar Vianna
The bride
Collagraphy, 7.5 x 10 cm, 2018
The dangers of the heat wave
Acrylic on paper backed up on wood panel, 30.5 x 46 cm, 2018
Bad fortune (for Midas)
Private collection, lithography mounted on board with encaustic and golden thread, 30.5 x 30.5 cm, 2018
crédit photo: Cesar Vianna
Défi ou jeu?
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
Prelude
Papier BFK Rives, 76 x 56 cm, 2018
The roots
Collagraphy, 19x22cm, 2017
crédit photo: Cesar Vianna
Gabrielle and the stool
Lithography un paper BFK Rives, 29 x 45.5 cm, 2017
crédit photo: Cesar Vianna
Nu à la chaise bleue.
Ink on paper Arches 88.
78 x 56 cm.
2020
Tarzan 3.0
Collagraphy and linocut. Arches 88 paper. 2020. 56 x 36 cm. photo credit @Sylvain Tanguay.
Ursa Major
Collection privée, collagraphy, 2017
crédit photo: Cesar Vianna
Femme mélodieuse
“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
Cosmic siren.
Shower curtain, acrylic siren on kraft paper cut and sewn on the curtain, ribbons, mulberry paper with pastel self-portraits and Indian ink.
Leo
linocut with chine-collé
Arches 88 paper
Fragility
Ink on Paper Fabriano, 56 x 76 cm, 2019
La pensive aux draps bleus.
Ink and charcoal on paper Arches 88.
78 x 56 cm.
2018
Pisces
linocut with chine-collé, 11.5 x 11.5 cm
Arches 88 paper
Taurus
linocut with chine-collé
Arches 88 paper
If Epimetheus had not had a brother …
Ink drawing marouflé on board with encaustic and embroidery thread and metallic , 22.8 x 30.5 cm, 2018
crédit photo: Cesar Vianna
Odalisque au turban bleu.
Sketch made during a live model session.
Ink on Arches 88 paper, 56 x 78 cm.
2020
On the doorstep
Ink on Papier Somerset, 56 x 76 cm, 20148
Inner Earth
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
Boxeur amélioré
Linocut and lithograph. Arches 88 paper. 2020. 56 x 36 cm. photo credit @Sylvain Tanguay.
Titanic vigilance
Acrylic on canvas. 91.5 x 91.5 cm, 2018
crédit photo: Cesar Vianna
Contemplation
Ink on Papier Fabriano 56 x 76 cm’, 2019
Amis pour toujours
Amis pour toujours, 2021
Digital print
16 x 16 cm (6 1/4 x 6 1/4 po)
The raft dis-illusioned
Metal Cylinders, Linoleum, Medical Equipment, Black Light, Visual and Sound Projection
Crédit photo: Christian Leduc
Guardian angel
Lithography on paper Arches 88, 15 x 12.5 cm, 2019
Let’s look in the whites of the eyes
Recycled wood pallets, mirror glued to the bottom of the box, fabric, pasted paper mask, string lights
Crédit photo: Cesar Vianna
Prudence et mystère
“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
Être ou ne pas être en culotte rouge.
Gouache and ink on BFK Rives paper.
76 x 56 cm.
2020
Ball Shoe in 2000
Lithography. Print 1/4. 20 x 28 cm. Yupo paper. 2020
The cactus-woman
Acrylic on canvas, 61 x 91.5 cm, 2017
May the best win
Acrylic on canvas. 61 x 76 cm. 2018
crédit photo: Cesar Vianna
Tombée au fond
Tombée au fond, 2021
Multiplate Linocut,
Edition of 8
22 x 28 cm (8.5 x 11 in)
The perfect woman
Resin casting, 30 cm, 2018
The groom
Collagraphy, 7.5 x 10 cm, 2018
Inner earth
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
Demethere or I will wait for you my daughter!
Private collection, ink drawing mounted on panel with encaustic and wire,22.8 x 30.5 cm, 2018
crédit photo: Cesar Vianna
Capricorn
linocut with chine-collé, 11.5 x 11.5 cm,
Arches88
Tombée au fond
Multiple plate linocut.
2021
31 x 41 cm (12 x 16 po)
Sylvie is resting.
Lithographie, 2017
crédit photo: Cesar Vianna
Hermès and his guilty passion for fashion
Private collection, ink drawing mounted on panel with encaustic and wire, 20.3 x 25.4 cm, 2018
crédit photo: Cesar Vianna
Aries
linocut with chine-collé
Arches 88 paper
Robe d’émeraude
“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
Ensembles pour l’éternité
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)
Virgo
linucut with chine-collé
Arches 88 paper
An amazon is born
Ink drawing marouflé on board with encaustic and wire, 30.5 x 30.5 cm, 2018
crédit photo: Cesar Vianna
Aquarius
linocut with chine-collé
Arches 88 paper
I will not give birth this way any more …
Private collection. Ink drawing mounted on panel with encaustic and thread, 28 x 36 cm, 2018
crédit photo: Cesar Vianna
News
Pièces détachées
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.
LE NOIR DE L’ENCRE
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.