Brigitte Radecki

After Midnight

2024

From the beginning of my practice, I have maintained a feminist perspective and a questioning of modernism. Conceptual queries and artistic explorations have taken several aesthetic ...

From the beginning of my practice, I have maintained a feminist perspective and a questioning of modernism. Conceptual queries and artistic explorations have taken several aesthetic ...

From the beginning of my practice, I have maintained a feminist perspective and a questioning of modernism. Conceptual queries and artistic explorations have taken several aesthetic ...

Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else? Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north. An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made. Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent. Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper, a rusted stove—is juxtaposed with the soft glow of a yellow circle. This continues Houston’s ongoing use of colour to question the particulars of perception. Heritage of All, White with Greed and Iron, and The Spaces we Breath, Houston’s titles read like lines of a haiku. Composed as prose, they are also confrontational, mapping out the cultural and environmental impacts of the extraction of resources in the Arctic. We witness scenes of violent decay, and yet simply carry on, like Business As Usual. In What Nations Come and Go a pale purple oval nearly fills the frame, revealing only in the very far right a simple cabin in front of a rocky incline. A similar imposing cloud of colour, this time blue, dominates the landscape in Mapped, Claimed, and Evaluated. The north is just as much an idea as it is a place, and is one that looms large in the Canadian imagination. There are few better examples than Glenn Gould...

Abstract painting with geometric lines and vibrant colors. On canvas. About the artist: Patrick’s work has been seen and collected all over the states and Europe. His most rece...

Photography has been a huge passion since my youth, however the evolution of digital photography created a void in regards to the precision and tactility of film photography. In 2002...

Dieter Villinger KOBALTBLAU, 1993 Pigment with acrylic on cotton canvas 132 × 141 × 3 cm (52 × 55 1/2 × 1 1/5 in) Signed by the artist Dieter Villinger, born 1947, is a German paint...

Acrylic on canvas Jean-Luc Veret is a French artist born in 1953 who lives & works between Paris & Corancy, France. He recognizes himself as a protean artist. He is indeed graduated...