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Laurent LamarcheEcofact 22018
2018
About the Item
When Laurent Lamarche reflects on the concept of origin, he thinks in terms of traces. His vision goes at once forward and backward, knitting together yesterday and tomorrow – thus expanding and deepening the poetic tenor of his work. Lamarche’s aesthetic is rooted in the persistence to shape to organic matters and objects, picturing lunar or Nordic landscapes that undeniably echo a futuristic aesthetic.
The plexiglass works from the Fossile series praises life; they suggest an environment inspired by natural propagating systems of growth, or potentially neural interconnexions. The rhizomatic configuration that appears is captivating not only because of its visual rhythm but also because it seems to erase any temporal boundary. Are these traces in the plexiglass witnesses of a time that is past, uncertain or frozen?
More often then not, Laurent Lamarche’s sculptures result from a tension between low tech and high tech. And science fiction is never really far. Here, they are, among other things, the offspring of an assemblage of different modeled space ships (Star Wars) that the artist has 3D printed. Perhaps the formal recognition is not immediate, but the figurative composition remains significant. The flawed/imperfect aspect that results from the printing procedure unveils a finish that is at once organic and vegetal. Exhibited on laboratory-like tables, the sculptures give the impression of undergoing a transformation. Or perhaps we see them as remains of species found during an archeological search from the future.
The territorial conquest, studies on origins and investigations on the living continue in the series Zone de contact. The images from this series were created from the scan of a matrix generated with a 3D printer. This matrix, a few millimeters thick, resulted from an impression that was voluntarily halted halfway through the process. From there, the nylon threads mesh evokes the delicacy and complexity of mapping language. Whereas in Zone de contact we can observe an atlas of the human body from a strangely familiar robot’s eye, in Territoire ductile it is a vast imaginary landscape that unfolds before in front of the viewer.
At last, Lamarche plays with tridimensionality onto a two-dimensional plane in his video Canopée in which the notion of stratum emerges from the limits of the plane. He explores the superior portion of different hardwood and softwood trees with the help of a modelling software. After dividing the model into successive layers (wire frames), he constructs an animated video where the viewer dives into the layers of the virtual plants. Once more, Laurent Lamarche yields territorial poetry from his cogitation on origins and traces.
- Creator:Laurent Lamarche (1977, Canadian)
- Creation Year:2018
- Dimensions:Height: 10.5 in (26.67 cm)Width: 5.5 in (13.97 cm)Depth: 5.5 in (13.97 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Montreal, CA
- Reference Number:1stDibs: LU4763509722
Laurent Lamarche
Laurent Lamarche's works embody a reflection situated at an intersection between the scientific laboratory, the cabinet of curiosity, and the museum of natural history. Their artistic analysis is rooted in the potential for transformation of matter, objects, and beings, allowing for them to uncover connections between humanity, nature, and instrumentation. One of the artist's primary challenges is exploring the modeling of natural phenomena through the use of ideas and images. They aim to strike a balance between low-tech and high-tech, crafting fictional universes that have a futuristic and technological feel to them. The artworks feature organisms and phenomena that evolve and grow, allowing for a deeper exploration of the porosity of boundaries between art and science, and between nature and artifice. Laurent Lamarche holds a master's degree in visual arts (2012) from the Université du Québec à Montréal. He works in sculpture and photography as well as in installation and multimedia. His works have been presented in group and solo exhibitions in Quebec and abroad. They are part of numerous private and public collections, including those of the Musée national des Beaux-Arts du Québec, the Cirque du Soleil, Loto-Québec, Tourisme Montréal and the University of California at Berkeley. Laurent Lamarche has created more than a dozen public artworks in Quebec, as part of the Politique d'intégration de l'art à l'architecture.
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