Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 5

Eric Lamontagne
Gallon de démesure

2018

About the Item

Lamontagne has an interest for the conflicting relationship that exists between the end of the landscape and its contemplation, as well as for the so-called death of painting. The parallel between landscape’s decay and painting’s obsolescence nurtured his artistic process. The artist decided to cut right through his landscape paintings and to reuse the cutout pieces from the same canvas into 3D consumer goods. These canvas deductions partially disfigure the painted sceneries. His gesture toward trompe-l’oeil is somewhat reminiscent of the cubist technic of painting objects on multiple angles at once, allowing them to emerge from the surface of the canvas. Here, illusion becomes disillusion.
  • Creator:
    Eric Lamontagne (1966, Canadian)
  • Creation Year:
    2018
  • Dimensions:
    Height: 15 in (38.1 cm)Width: 2.5 in (6.35 cm)Depth: 1 in (2.54 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Montreal, CA
  • Reference Number:
    1stDibs: LU4763518862
More From This SellerView All
  • Se peinturer dans le coin
    By Eric Lamontagne
    Located in Montreal, Quebec
    Lamontagne has an interest for the conflicting relationship that exists between the end of the landscape and its contemplation, as well as for the so-called death of painting. The pa...
    Category

    2010s Contemporary Figurative Sculptures

    Materials

    Canvas, Acrylic

  • Enfoncer le clou
    By Eric Lamontagne
    Located in Montreal, Quebec
    Lamontagne has an interest for the conflicting relationship that exists between the end of the landscape and its contemplation, as well as for the so-called death of painting. The pa...
    Category

    2010s Contemporary Figurative Sculptures

    Materials

    Acrylic, Canvas

  • Agrafeuse
    By Eric Lamontagne
    Located in Montreal, Quebec
    Lamontagne has an interest for the conflicting relationship that exists between the end of the landscape and its contemplation, as well as for the so-called death of painting. The pa...
    Category

    2010s Contemporary Figurative Sculptures

    Materials

    Acrylic, Canvas

  • Hook Ups and Lay Ups
    By Cal Lane
    Located in Montreal, Quebec
    Laughter, discomfort, perplexity: these are all plausible reactions to the work by sculptor Cal Lane. The artist’s most recent body of work is an affective assemblage of incongruous parts that, taken together, violate our mental patterns and expectations. Charged with contradictions, metaphor, sexual undertones, and unsettling associations, Lane’s unlikely combinations use absurdity as a way of pointing to western society’s normalized habits and conventions, often with an emphasis on gender and sexuality. For the exhibition Try Me, Lane installs a basketball court in the gallery. The two basketball hoops on opposing walls are embellished with silver-coated frames and lustrous mirrors, which serve as decorative backboards. In place of nets, women’s black lace underwear delicately hang from hoops. A decorative rug stenciled with court lines performs as the court floor. It is a mise-en-scène set in motion by viewer’s reconciliation of the individual parts to the whole, and to their original function. Panties regard themselves in the mirror or perhaps measure up their opponent, which, not without irony, is the mirror image of itself. Themes of gender and sexuality are performed and imagined in the upward voyeuristic gaze of the viewer and the expected swoosh of the ball into the net. This is further elaborated by phallic impressions formed by court lines and their likeness to a work of modernist abstraction—a movement wrought by notions of masculinity. The decorative rug’s connection to femininity and domesticity juxtaposes the rigid geometry. Lane further explores the historical gendering of technology, industry, and war in her series of wallpaper drawings, which depict war submarines on cloud patterned wallpaper. The innocence of the submarine in popular culture and its reality as a phallic war object...
    Category

    2010s Contemporary Figurative Sculptures

    Materials

    Steel

  • Night Shift
    By Guillaume Lachapelle
    Located in Montreal, Quebec
    Text by Terence Sharpe There is a moment in Andrei Tarkovsky’s Solaris (1972) when the character Hari commits suicide by drinking liquid oxygen. As she is not actually a human, but an artificial hybrid product of the mysterious planet and the protagonists’ memories, she heals rapidly and is alive again minutes later. Her choice to take her own life is poignant, seemingly the action of a being becoming aware of its hopeless infinitude. Her realization that while the men will die on the space station or elsewhere, her existence is that of immortality, a deeply alienating notion that causes her to seek her own destruction. The Montreal artist Guillaume Lachapelle has one work that prompts a sense of eternal alienation that echoes Hari’s tragedy. The work greets the viewer with a empty doorway flanked by clinically white bookshelves...
    Category

    2010s Contemporary Figurative Sculptures

    Materials

    Nylon, Glass, Wood, LED Light, Acrylic

  • Night shift II
    By Guillaume Lachapelle
    Located in Montreal, Quebec
    Text by Terence Sharpe There is a moment in Andrei Tarkovsky’s Solaris (1972) when the character Hari commits suicide by drinking liquid oxygen. As she is not actually a human, but an artificial hybrid product of the mysterious planet and the protagonists’ memories, she heals rapidly and is alive again minutes later. Her choice to take her own life is poignant, seemingly the action of a being becoming aware of its hopeless infinitude. Her realization that while the men will die on the space station or elsewhere, her existence is that of immortality, a deeply alienating notion that causes her to seek her own destruction. The Montreal artist Guillaume Lachapelle has one work that prompts a sense of eternal alienation that echoes Hari’s tragedy. The work greets the viewer with a empty doorway flanked by clinically white bookshelves...
    Category

    2010s Contemporary Figurative Sculptures

    Materials

    Nylon, Glass, LED Light, Acrylic

You May Also Like
  • Vapos #1
    Located in Denver, CO
    Electric Coffin is coded within art history and ideologies from archetypes of mysticism. We explore found truths from modernity and a personal historical perspective. A process-drive...
    Category

    2010s Contemporary Figurative Sculptures

    Materials

    Canvas, Glass, Wood, Mixed Media, Acrylic

  • Infernus #1
    Located in Denver, CO
    Electric Coffin is coded within art history and ideologies from archetypes of mysticism. We explore found truths from modernity and a personal historical perspective. A process-drive...
    Category

    2010s Contemporary Animal Paintings

    Materials

    Canvas, Glass, Wood, Mixed Media, Acrylic

  • Do Not Touch
    By Javier Calleja
    Located in Palo Alto, CA
    Created in 2020, this painted resin and steel multiple with accompanying acrylic painting on canvas with original wood crate is signed by Javier Calleja (Spain, 1978 - ) in black ink...
    Category

    2010s Contemporary Figurative Sculptures

    Materials

    Steel

  • Untitled, Girl Portrait - Contemporary Photography - Painting Object
    By Magdalena Peszkowska
    Located in Salzburg, AT
    Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of Fine Arts in Gdańsk (1999-2004). Diploma with special recognition in painting in 2004. The character of Magdalena Peszkowska's works Series Stand is like an poetic archive of memories, which call for a classification and reconstruction of the time of childhood and the intense experience of time with everything around it. Gdansk - where the artist comes from - becomes a mythical place, This city, with a very strong symbolic potential inherent in its history, needs editing from a single point of view. Magdalena Peszkowska uses her own photos or those from the family album. She transfers them to gray field blankets and camp beds with her own secret technology Then she paints on the used objects. Many of her objects show figures from the closest circle of Peszkowska, often it is herself, her family or places close to her in Gdansk. Her objects have intentional signs of use. The field blankets have a sewn-in wooden bar to hang them on the wall. The field military beds...
    Category

    2010s Contemporary Figurative Sculptures

    Materials

    Metal

  • Untitled, City Wolves - Stand Series, Contemporary Photography - Painting Object
    By Magdalena Peszkowska
    Located in Salzburg, AT
    Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of Fine Arts in Gdańsk (1999-2004). Diploma with special recognition in painting in 2004. The character of Magdalena Peszkowska's works is like an poetic archive of memories, which call for a classification and reconstruction of the time of childhood and the intense experience of time with everything around it. Gdansk - where the artist comes from - becomes a mythical place, This city, with a very strong symbolic potential inherent in its history, needs editing from a single point of view. Magdalena Peszkowska uses her own photos or those from the family album. She transfers them to gray field blankets and camp beds with her own secret technology Then she paints on the used objects. Many of her objects show figures from the closest circle of Peszkowska, often it is herself, her family or places close to her in Gdansk. Her objects have intentional signs of use. The field blankets have a sewn-in wooden bar to hang them on the wall. The field military beds...
    Category

    2010s Contemporary Figurative Sculptures

    Materials

    Metal

  • Untitled, Sea Ship, Series Stand - Contemporary Photography - Painting Object
    By Magdalena Peszkowska
    Located in Salzburg, AT
    Magdalena Peszkowska born in 1980 in Gdańsk, Poland. Studied in Department of Painting at Academy of Fine Arts in Gdańsk (1999-2004). Diploma with special recognition in painting in 2004. The character of Magdalena Peszkowska's works Series Stand is like an poetic archive of memories, which call for a classification and reconstruction of the time of childhood and the intense experience of time with everything around it. Gdansk - where the artist comes from - becomes a mythical place, This city, with a very strong symbolic potential inherent in its history, needs editing from a single point of view. Magdalena Peszkowska uses her own photos or those from the family album. She transfers them to gray field blankets and camp beds with her own secret technology Then she paints on the used objects. Many of her objects show figures from the closest circle of Peszkowska, often it is herself, her family or places close to her in Gdansk. Her objects have intentional signs of use. The field blankets have a sewn-in wooden bar to hang them on the wall. The field military beds...
    Category

    2010s Contemporary Figurative Sculptures

    Materials

    Metal

Recently Viewed

View All