Montreal

For the exhibition Panorama of the Anthropocene, Oli Sorenson presents an array of works created in a hybrid style that evokes the square layout of Instag...

Clint Neufeld was born and raised in small town Saskatchewan. Prior to pursuing a career in art, Neufeld spent three years with the Canadian military, which included a deployment to ...

Guillaume Lachapelle’s work combines the real and the imaginary to create miniature environments and scenarios that showcase connections between humans and their everyday worlds. In Extrapolations, Lachapelle extracts seemingly mundane mechanical objects from a typical cityscape – such as radiators, fire hydrants, and balconies – and manipulates their appearance by creating 3D printed models that visually oscillate between the magical and the monstrous. In some of his sculptures, Lachapelle uses photogrammetry – a method that scans a series of two-dimensional photographs or images to create three-dimensional models. While photogrammetry typically enables real-life objects to be accurately reproduced, the artist challenges this paradigm by tampering with the machine’s process, both by accepting the machine’s glitches and by triggering them. When scanning images, the results may not always be what is anticipated, however, for Lachapelle it is about welcoming the unknown. In several examples, he encourages the program to read screenshots of images and extrapolates what should be there, filling in blank data with added images and various shapes. The resulting sculptures are symmetrical and geometric, appearing uncannily familiar like human vertebrae, yet unfamiliar in fantastical abstracted forms. The sculptures merge between two different worlds, bridging human and machine through unexpected adaptations to everyday things. Extrapolations balances between this duality, ultimately reflecting on the increasing dependency humans have on technology in our everyday world. For Lachapelle, this is especially pertinent in a world where technology is continuously developing. The sculptures highlight the dynamic and everchanging relationship between humans and technology, making us question this reliance on technology. In this exhibition, Lachapelle also introduces the inclusion of human characters back into his art practice. He places people in unnatural and impossible exchanges with machines and technology. For instance, while in past exhibitions, he has usually tried to conceal the electronic components that make moving pieces...

Guillaume Lachapelle’s work combines the real and the imaginary to create miniature environments and scenarios that showcase connections between humans and their everyday worlds. In ...

Guillaume Lachapelle’s work combines the real and the imaginary to create miniature environments and scenarios that showcase connections between humans and their everyday worlds. In Extrapolations, Lachapelle extracts seemingly mundane mechanical objects from a typical cityscape – such as radiators, fire hydrants, and balconies – and manipulates their appearance by creating 3D printed models that visually oscillate between the magical and the monstrous. In some of his sculptures, Lachapelle uses photogrammetry – a method that scans a series of two-dimensional photographs or images to create three-dimensional models. While photogrammetry typically enables real-life objects to be accurately reproduced, the artist challenges this paradigm by tampering with the machine’s process, both by accepting the machine’s glitches and by triggering them. When scanning images, the results may not always be what is anticipated, however, for Lachapelle it is about welcoming the unknown. In several examples, he encourages the program to read screenshots of images and extrapolates what should be there, filling in blank data with added images and various shapes. The resulting sculptures are symmetrical and geometric, appearing uncannily familiar like human vertebrae, yet unfamiliar in fantastical abstracted forms. The sculptures merge between two different worlds, bridging human and machine through unexpected adaptations to everyday things. Extrapolations balances between this duality, ultimately reflecting on the increasing dependency humans have on technology in our everyday world. For Lachapelle, this is especially pertinent in a world where technology is continuously developing. The sculptures highlight the dynamic and everchanging relationship between humans and technology, making us question this reliance on technology. In this exhibition, Lachapelle also introduces the inclusion of human characters back into his art practice. He places people in unnatural and impossible exchanges with machines and technology. For instance, while in past exhibitions, he has usually tried to conceal the electronic components that make moving pieces...

The themes visited in this show stem from a desire to extend the vocabulary of my painting while forming a metaphor for the chaos of contemporary life. The title, Escalade, has differing and complimentary functions in English and French. Continuing to paint, over a lengthening career, the medium poses more questions than answers. The title is a reference to my attempt to overcome these difficulties through the expansion of my painting language. The title also refers to the escalation of crises in the world at large. It is the larger picture in which I am a small person trying to make my way. In a concrete sense, the title also refers to a strategy I have taken in a number of these paintings. That is, to re-examine very small paintings...

Guillaume Lachapelle’s work combines the real and the imaginary to create miniature environments and scenarios that showcase connections between humans and their everyday worlds. In ...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

For this exhibition, I wanted to find the coherence of a life shared between different geographies from Tunisia to Canada. Intertwining the imagery of here and there, I ask myself wh...

Robbie Cornelissen is one of the leading contemporary draughtsmen in the Netherlands. Cornelissen has established a reputation for the monumental, architectural drawings that he has ...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix cu...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix culture—as digital interventions onto works that contain the colonial gaze. These interventions participate in the growing discourse of decolonization, acting as “tags” to challenging the colonial fantasy of terra nullius and confronting the dominant colonial culture’s continued portrayal of Indigenous peoples as a vanishing race...

Very large abstract painting, original bold art, neutral colors, cream white black and grey expressionist art, one of a kind. This work ...

Textured painting, stunning in real life, gorgeous small details (see the pictures) This series of paintings are an exploration of textures and colors. The random effects and strong...

Title: Endless Summer Original Acrylic Painting Medium: Acrylic Support: Stretched Canvas, Staple-free edges, Acid free, Ready to Hang Size : 20? x 16? x 1.1/2? ( 50.8 cm x 40.6 ...

Title: Angel Pelargonium Large Acrylic Painting Medium: Acrylic, Marker and Graphite Support: Bristol Paper 100 lb (270 g) Size : 19?x 24? (48.26cm x 60.96 cm) Painting is si...

For this exhibition, I wanted to find the coherence of a life shared between different geographies from Tunisia to Canada. Intertwining the imagery of here and there, I ask myself wh...

ngrid Bachmann has presented her multidisciplinary work nationally and internationally in exhibitions and festivals in Belgium, the U.S., Estonia, Singapore, Peru, Brazil, the UK, an...

I think of my paintings primarily as landscapes. Recently, these landscapes appear to be more manufactured than organic. At first glance the subjects seem to be monumental forms such...

The first work of Clint Neufeld I ever saw was a hulking engine rendered in pink and lime green ceramic, so large that it hung from its own crane. It was called Screaming Jimmy, the ...

With a career spanning more than three decades, Robbie Cornelissen has established himself among the leading contemporary draughtsmen in Europe. His vast and irresolute creative universe demonstrates the complexity of a world dealing with new spatial concepts. Every corner of the planet may have been explored, but digital technologies have opened up an endless universe to discover, a virtual labyrinth without an exit in which one can easily get lost. His drawings often serve vertiginous perspectives out of which emerge distressing voids that refer more to metaphorical states of mind than physical spaces. Cornelissen’s works offer an exploration of these fields and are therefore often viewed as places of anxiety. They could easily be interpreted as portraits of a technophobic mind, alarmed by the speeds and heights of our advanced neoliberal societies. But for some, the volatility of these spaces is also incredibly exciting – liberating even. Cornelissen represents a world in which things are freed from the pragmatism of their usage to exist simply for the interest of their geometry. This is particularly true of architecture, the prime subject of his artistic research. In many ways, Cornelissen’s technique is very classical. His expertise of linear perspective takes root in the heritage of Quattrocento Masters of the likes of Pietro Perugino...

Adam Gunn’s painting practice began with a desire to subvert the traditional still life genre, creating an absurd experience that would evoke a sense of uncertainty in the viewer. In...

Chinese side table Dimensions: 18" W x 18" D x 20" H.

Patrick Beaulieu’s most recent project Révélations uses installation and digital prints to explore how artistic manipulation can create shifts in one’s expectations of the visual experience. Beaulieu clearly acknowledges his artistic presence in the work through mechanical and digital manipulation of the objects and images he presents. He becomes more than a passive observer and recorder of his physical world; the alteration of conventional photographs implants his voice and vision into the work. This approach directly addresses and contrasts artistic practices which seek to conceal the artist’s hand. His method diverges from those that attempt to present an uninterrupted and uncontaminated record, such as some documentary and straight photography. In using these stylized techniques, Beaulieu makes a palpable proclamation regarding the subjective and flexible condition of images. In Révélations, images of trees, moss, leaves and other natural objects are presented in strict colour schemes of muted grays, browns and greens. Though these colours are familiar components of the natural world that we experience in day-to-day life and in photographs of nature...

“I know not with what weapons World War III will be fought, but World War IV will be fought with sticks and stones.” ― Albert Einstein. Always working with graphite and charcoal, Robbie Cornelissen’s limited palette emphasises the stark sombre nature of his metaphysical drawings, The Undertow is his sixth solo exhibition at Art Mûr. At the centre of the exhibition hovers Terra Nova...

The first decades of the 21st century shaped the period of reconfiguration of the "world order", according to Pedro Pablo Gómez1, into three options: "rewesternalization, dewesternal...

PRODUCT DESCRIPTION: Sheared Beaver Fur Coat with Fur Trim (Size 8-M) Condition: good Closure: Hooks & Eyes Color: Cream, beige Material: ...

Text by Nancy Webb It’s Saturday night and Karine Payette is in her studio. We meander into a conversation about the dog she used to have and her soft spot for German shepherds, an intensely obedient and loyal breed in a deceivingly wolf-like package. Payette’s most recent series of photographs, sculptures and video work seem to speak directly to this preoccupation with the multifaceted nature of human-animal relationships—the dialogues of control, intimacy, violence and domestication that subtly take place on an interspecies level. Her workspace is part laboratory, part prop closet—a bowl of fur sits not far from her computer. Somehow in this bright, open, chemical-clean scented room, Payette conjures wildness. We are taken to a strange place, the borderlands of interspecies mingling. At one extreme of the animal-human dynamics scale is the stalwart compliance of a professionally trained German shepherd who responds to commands with robotic precision. Here, power is comfortably held by an off-screen voice, animality pacified by a set of linguistic prompts. At the other end of the scale is a sculpture of a human figure clad in red, sharing a languorous kiss with a wolf. The story of Little Red Riding Hood is immediately called to mind, except that here our hooded protagonist seems to have bailed on grandmother’s orders, instead opting for a forest floor make-out with her canine stalker. This taboo mise-en-scène is a brazen inquiry into the boundaries we maintain with our animal counterparts. Its scale and three-dimensionality contribute to a feeling of immersion that the artist has been courting with her work for the past several years. It feels as though you’ve just walked in on something: you are implicated and your discomfort is like an invisible mist that coats these inanimate beings. Elsewhere in Payette’s suite of anthropomorphic works, the demarcation between species grows even fainter. A photographic series depicts the slow encroachment of fur, scales and feathers on human skin—a striking process of contamination facilitated by touch. The fusion of flesh, charcoal cat fur and a pale silky dress...

Paul Soulikias, Canadian, b 1926 Winter landscape, Quebec. 1969 Oil on canvas 16 x 20 in 41 x 51 cm Signed and dated 1969 lower right Framed

Abstract painting with blues, greens, rust and white. A modern bold, big and beautiful painting that wants to take you in the trip of a life time. The painting can be shipped read...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

Collage of photographs and Pantone color swatches on paper Suspended in a Sunbeam, is a series of mixed-media works that span Jessica Houston’s decade-long engagement with the Canad...

At first glance, the fields of art and science may seem like two incompatible subjects that exist on opposite sides of a spectrum, though historicall...

“Man's profound gestural relationship to objects, which epitomizes his integration into the world, into social structures, can be a highly fulfilling one, and this fulfilment is discernible in the beauty - the 'style' - of the relationship in its reciprocity.” -Jean Baudrillard, The System of Objects (1996) The cliché that “one man’s trash...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien...

The first work of Clint Neufeld I ever saw was a hulking engine rendered in pink and lime green ceramic, so large that it hung from its own crane. It was called Screaming Jimmy, the ...

Collage of photographs and Pantone color swatches on paper Suspended in a Sunbeam, is a series of mixed-media works that span Jessica Houston’s decade-long engagement with the Canad...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and sky are tinged a movie musical pale blue and their gear is a bit too colorful for the era of man-hauling. And then there’s the sled, piled high not with boxes of supplies but with a jumbled heap of antiquities: Greek Athenas, bits of a coliseum, a ship’s great wheel. In Jessica Houston’s collage “The Long Haul,” the explorers drag history itself into the great beyond, their backs turned from their absurd load. But we take in the entire scene. In her suite of works, Over the Edge of the World, Houston uses oil on wood, ink on paper, and collages of found images, many from National Geographic Magazine, to rearrange the evidence – and thus history’s possibilities. Houston joins visual artists such as Judit Hersko, Katja Aglert, and Isaac Julien...

The first work of Clint Neufeld I ever saw was a hulking engine rendered in pink and lime green ceramic, so large that it hung from its own crane. It was called Screaming Jimmy, the ...

Nicolas de Larmessin Etching – Habit de Ceinturier. 20th century print. Nicolas de Larmessin (1640-1725) was an enormously creative and productive artist. Nicolas was part of a long...

Patrick Beaulieu’s most recent project Révélations uses installation and digital prints to explore how artistic manipulation can create shifts in one’s expectations of the visual experience. Beaulieu clearly acknowledges his artistic presence in the work through mechanical and digital manipulation of the objects and images he presents. He becomes more than a passive observer and recorder of his physical world; the alteration of conventional photographs implants his voice and vision into the work. This approach directly addresses and contrasts artistic practices which seek to conceal the artist’s hand. His method diverges from those that attempt to present an uninterrupted and uncontaminated record, such as some documentary and straight photography. In using these stylized techniques, Beaulieu makes a palpable proclamation regarding the subjective and flexible condition of images. In Révélations, images of trees, moss, leaves and other natural objects are presented in strict colour schemes of muted grays, browns and greens. Though these colours are familiar components of the natural world that we experience in day-to-day life and in photographs of nature...

“But then, the backside of heroism is often rather sad; women and servants know that …But the achievement is smaller than men think. What is large is the sky, the earth, the sea, the...

For the exhibition Panorama of the Anthropocene, Oli Sorenson presents an array of works created in a hybrid style that evokes the square layout of Instagram, the pixelated landscape...

3 sheets of A-4 sized paper. “I know not with what weapons World War III will be fought, but World War IV will be fought with sticks and stones.” ― Albert Einstein. Always working ...

A group of figures heads for icy distant mountains. A familiar enough scene of polar explorers hauling their sledges. Yet somehow this does not quite fit the heroic mold. The ice and...

"…last Thule of the South, which lies on our maps and globes like a white cloud, a void, fringed here and there with scraps of coastline, dubious capes, suppositious islands, headlan...

Albert Rousseau, Canadian, 1908 - 1982 Oil on panel 16 x 20 in signed and dated on lower right A. Rousseau 73 titled verso Framed

The themes visited in this show stem from a desire to extend the vocabulary of my painting while forming a metaphor for the chaos of contemporary life. The title, Escalade, has differing and complimentary functions in English and French. Continuing to paint, over a lengthening career, the medium poses more questions than answers. The title is a reference to my attempt to overcome these difficulties through the expansion of my painting language. The title also refers to the escalation of crises in the world at large. It is the larger picture in which I am a small person trying to make my way. In a concrete sense, the title also refers to a strategy I have taken in a number of these paintings. That is, to re-examine very small paintings...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix culture—as digital interventions onto works that contain the colonial gaze. These interventions participate in the growing discourse of decolonization, acting as “tags” to challenging the colonial fantasy of terra nullius and confronting the dominant colonial culture’s continued portrayal of Indigenous peoples as a vanishing race...

"Life from above" is inspired by the delicacy of our Earth, the fragility of our ecosystem and still undiscovered treasures. I tried to create the beauty and the richness of our worl...

Building on a series of exhibitions titled Panorama of the Anthropocene which examined the ecological impact of human activity through an array of paintings, digital prints and video...

Building on a series of exhibitions titled Panorama of the Anthropocene which examined the ecological impact of human activity through an array of paintings, digital prints and video...

Through processes like transgression, confrontation and hybridization Renato Garza Cervera’s work questions and generates a series of reflections upon contemporary culture and relate...

This piece depicts the safe haven that individuals seek and need when their identity is rejected, occluded, or marginalized. Ships WORLDWIDE in a reinforced shipping tube. :: Pain...

Original mixed media painting by Ala Ilescu "He loves me, he loves me not" 20 x 16 inch "He loves me, he loves me not" 2021 Mixed media: acrylic, waterco...

Born in 1980 in Sainte-Émelie de l’Énergie, Karine Giboulo lives and works in Montreal. Since early 2000, she has been creating work in a variety of media from paintings and works on...

Jessica Houston has traveled from pole to pole—using photography, painting, oral histories and objects—to evoke natureculture entanglements. Her multimedia projects often include sit...