Montreal

In a series of portraits documenting the body in nature, Isaac’s model dons a fantastical mask — one side overgrown with fledgling greenery while the other half conjures a ghost of t...

In a series of portraits documenting the body in nature, Isaac’s model dons a fantastical mask — one side overgrown with fledgling greenery while the other half conjures a ghost of t...

Text by Nancy Webb In Jessica Houston’s Afterward, Silence (Franklin’s Crewmen’s Grave, Beechey Island) a single pale gravestone stands on an otherwise desolate ashen shore – a reli...

I have been taking impressions of pills and creating a pill archive where pills are cast in silver and/or gold since 1995. At that time I was given pills as an answer to something th...

I have been taking impressions of pills and creating a pill archive where pills are cast in silver and/or gold since 1995. At that time I was given pills as an answer to something th...

Nicholas Crombach has a BFA from OCAD University with a major in Sculpture and Installation. In 2016-17 he participated in a year-long studio residency at The Florence Trust in Londo...

Rust on archival paper Cal Lane is an internationally acclaimed sculptor known for turning ordinary objects into lacy artworks. She holds a Bachelor’s degree in Fine Arts from Nova ...

"Flower/Boulder" explores the longitudinal impact of anxiety through the critical years of identity formation, and now that translates into an emotional and introspective understandi...

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

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...

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...

What happens when the digital and analog duke it out? Who would win in this match: the printing press versus a high-speed internet connection? Or do we have to choose? What happens w...

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...

In his book Now or Never naturalist Tim Flannery describes a vision of a world with a dead purple ocean and a poisonous green sky. This is a world where warming has melted the ice caps and slowed down the circulation of the oceans so that they have become like a gigantic stagnant pond. This still oxygen depleted water will allow the proliferation of anoxygenic bacteria that will change the chemistry of the ocean making it poisonous to oxygen dependant life. These bacteria will also release hydrogen sulfide into the atmosphere causing a mass extinction of animal and plant life on land. This stark yet colourful world will be sublimely beautiful, but there will be no one around to see it. This series of paintings depicts an imagining of our world after the catastrophic consequences of climate change through a reinterpretation of well-known images with a romantic sensibility towards nature. Romanticism was in part a reaction to the industrial revolution marked by a nostalgia for an untouched natural world and a reverence for its overwhelming power. Ironically the spread and continuation of that industrialism is predicted to set in motion a new version of nature that will completely overpower the human world as we know it. With these thoughts in mind, I’ve sourced some paintings associated with the romantic movement and removed the human figures from them – the only evidence of people are the decaying ruins left behind in this uncanny green and purple landscape. I’ve also referenced some photographs from the Apollo moon missions that are thought to have influenced the beginning of modern environmental awareness. The starting point for this series of paintings was Arnold Böcklin’s Isle of the Dead...

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...

Titled after an episode of Star Trek, The Paradise Syndrome features new work by Sonny Assu. Combining Indigenous content with appropriated images and text from marine chart...

Title: Faded Original Acrylic Painting Medium: Acrylic Support: Stretched Canvas, Staple-free edges, Acid-free acrylic titanium gesso, Ready to Hang Size : 24?x 18?x 1.1/2? ( 61 ...

Second of the "Let's Start a War" trio, Silence discusses interpersonal and intrapersonal conflict. This highly emotional piece represents struggles between finding and affirming you...

Title: Stretched Drops Original Abstract Painting Medium: Acrylic Support: Stretched Canvas, Staple-free edges, Ready to Hang Size : 36?x 24?x 1.1/2? ( 91,44 cm x 60,96 cm x 3.81...

Title: Dark Clouds Original Abstract Painting Medium: Acrylic Support: Stretched Canvas, Staple-free edges, Ready to Hang Size : 36?x 24?x 1.1/2? ( 91,...

Beyond Sociology: The Act of Seeing a Person Text by Edwin Janzen It is hardly surprising that in our society perceptions of homeless persons remain two-dimensional, stereotypical, inadequate. Even for the rare administration tackling the problems of homelessness in an effective, meaningful way, the homeless person’s humanity is buried beneath a mountain of endless statistical markers: mental illness, substance abuse, soup-kitchen attendance, etc. The enormous negativity lingering about the resultant profile permits scant room for other, arguably important accoutrements of the human experience—character, emotion, intellect, beauty, relationship to divinity—and leaves homeless persons basically where they already are: on the street, the objects of middle-class loathing or pity. Struck by this depressing determinism, artist Bevan Ramsay set out to cast portrait busts of homeless persons (one woman, the others men), producing an edition in fine, white statuary Hydrocal plaster mounted on mahogany bases. These portraits, titled Lesser Gods...

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...

Holly King’s photographs draw from memories of landscapes, and reference film, art and literature. Her images are cinematic and striking, seemingly rea...

Holly King was born in Montreal and has a BFA from Laval and an MFA in visual art from York University. She currently teaches at Concordia University. Her photographs have been shown...

Text by Nancy Webb In Jessica Houston’s Afterward, Silence (Franklin’s Crewmen’s Grave, Beechey Island) a single pale gravestone stands on an otherwise desolate ashen shore – a reli...

Guillaume Lachapelle’s artistic practice is shaped predominantly by sculpture, expressed in the form of installations and detailed miniature models. Lachapelle presents playful universes which combine objects of undetermined purpose; in this way, he opens the conventions of our reality to fresh disposition. The architecture of his models – which Lachapelle has recently begun to make with the help of the latest 3-D printing technology – shows motifs originating from the everyday, certainly, but seeming strange, alienating or even uncanny when combined as the artist chooses. A kind of transition between two worlds often appears in Lachapelle’s work – for example when the model of a library filled with books curves inwards and reveals a mysterious opening pointing into darkness – these are the artist’s references to spaces and occurrences which may be concealed below the surface of outward semblance. Guillaume Lachapelle has participated in several solo and group exhibitions including Manèges at Circa – Centre d’Exposition Art Contemporain (Montreal) in 2006; Quebec Gold at the Ancien Collège des Jésuites (Rheims, France) in 2008 and in Abracadabra (Edward Day...

Judith Berry was born in London, Ontario and grew up in Saskatoon, Saskatchewan. She studied at the Nova Scotia College of Art and Design in Halifax and spent one year in the Studio ...

Title: Profile Original Painting Medium: Oil and Acrylic Support: Stretched Canvas, Staple-free edges, Acid-free acrylic titanium gesso...

What happens when the digital and analog duke it out? Who would win in this match: the printing press versus a high-speed internet connection? Or do we have to choose? What happens w...

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...

Nicholas Crombach (BFA, 2012) is an artist working in Kingston Ontario. Crombach has been awarded the Elizabeth Greenshields Foundation Award. His solo exhibition, Behind Elegantly Carved Wooden Doors, was presented at Art Mûr...

This painting depicts relentless effort and hope in situations of self-doubt, and in the doubt of others. Shipping WORLDWIDE! By default unstretched, rolled in a tube. If you w...

- Title: Controlled Chaos II - Mixed Media&Acrylic (acrylic, oil sticks, graphite) - Size : 40"x60" (101 cm x 152 cm ) after stretching (the total size of the canvas is 45"x65") -...

Sonny Assu (Liǥwildaʼx̱w of the Kwakwaka’wakw Nations) was raised in North Delta, BC, over 250 km away from his home ancestral home on Vancouver Island. Having been raised as your everyday average suburbanite, it wasn't until he was eight years old that he discovered his Liǥwildax̱w/Kwakwaka’wakw heritage. Later in life, this discovery would be the conceptual focal point that helped launch his unique art practice. Assu's artistic practice is diverse: spanning painting, sculpture, photography, digital art and printmaking. Sonny negotiates Western and Kwakwaka’wakw principles of art making as a means of exploring his family history and the experiences of being an Indigenous person in the colonial state of Canada. Having cut his teeth in Vancouver's art scene, Assu packed up and moved to Montreal to be with the love of his life. Five years later, along with his wife and beautiful daughter, Sonny moved back to BC, eventually settling back "home" in unceded Liǥwildaʼx̱w territory (Campbell River, BC.). Assu received his BFA from the Emily Carr University in 2002 and was the recipient of their distinguished alumni award in 2006. He received the BC Creative Achievement Award in First Nations art...

“Metaphysics is a dark ocean without shores or lighthouse, strewn with many a philosophic wreck.” – Immanuel Kant A recent online story in the German news outlet Deustche Welle post...

Painting: Acrylic on Canvas. Title: Leucanthemum Vulgare (Daisy) Original Acrylic Painting Medium: Acrylic Support: Stretched Canvas, Staple-free edges, Acid-free acrylic titaniu...

Jean-Robert Drouillard’s practice has its genesis in a background of studies in literature and writing. He is a member of the artist collective la Coop Le Bloc5, an artist-run collec...

Nicholas Crombach (BFA, 2012) is an artist working in Kingston Ontario. Crombach has been awarded the Elizabeth Greenshields Foundation Award. His solo exhibition, Behind Elegantly Carved Wooden Doors, was presented at Art Mûr...

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...

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...

At first glance the subjects of Judith Berry’s paintings appear to be monumental forms such as prairies, forests and mountains. Upon closer inspection they could be smaller, more man...

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 e...

Sonny Assu (Liǥwildaʼx̱w of the Kwakwaka’wakw Nations) was raised in North Delta, BC, over 250 km away from his home ancestral home on Vancouver Island. Having been raised as your everyday average suburbanite, it wasn't until he was eight years old that he discovered his Liǥwildax̱w/Kwakwaka’wakw heritage. Later in life, this discovery would be the conceptual focal point that helped launch his unique art practice. Assu's artistic practice is diverse: spanning painting, sculpture, photography, digital art and printmaking. Sonny negotiates Western and Kwakwaka’wakw principles of art making as a means of exploring his family history and the experiences of being an Indigenous person in the colonial state of Canada. Having cut his teeth in Vancouver's art scene, Assu packed up and moved to Montreal to be with the love of his life. Five years later, along with his wife and beautiful daughter, Sonny moved back to BC, eventually settling back "home" in unceded Liǥwildaʼx̱w territory (Campbell River, BC.). Assu received his BFA from the Emily Carr University in 2002 and was the recipient of their distinguished alumni award in 2006. He received the BC Creative Achievement Award in First Nations art...

Marea # 10 . Sandy Lane Bay, Barbados 2013. Silver Halide Fuji Flex Crystal Archive paper printed with LightJet Oce 430, face mounted with 1/8” UV Tru-VU Clear Conservation Grade ...

Marea # 4 . Caribbean Sea, Barbados, 2013. Silver Halide Fuji Flex Crystal Archive paper printed with LightJet Oce 430, face mounted with 1/8” UV Tru-VU Clear Conservation Grade A...

Marea # 12 . Fort Lauderdale Beach, USA, 2013. Silver Halide Fuji Flex Crystal Archive paper printed with LightJet Oce 430, face mounted with 1/8” UV Tru-VU Clear Conservation Gra...

Marea # 6 . Bermuda 2012. Silver Halide Fuji Flex Crystal Archive paper printed with LightJet Oce 430, face mounted with 1/8” UV Tru-VU Clear Conservation Grade Acrylic and backed...

Marea # 6 . Bermuda 2012. Silver Halide Fuji Flex Crystal Archive paper printed with LightJet Oce 430, face mounted with 1/8” UV Tru-VU Clear Conservation Grade Acrylic and backed...

Silver Halide Fuji Flex Crystal Archive paper printed with LightJet Oce 430, face mounted with 1/8” UV Tru-VU Clear Conservation Grade Acrylic and backed with 3mm Aluminium Dibond....

Titled after an episode of Star Trek, The Paradise Syndrome features new work by Sonny Assu. Combining Indigenous content with appropriated images and text from marine chart...

I have been taking impressions of pills and creating a pill archive where pills are cast in silver and/or gold since 1995. At that time I was given pills as an answer to something th...

As a painter I love to use all colors and hapiness :: Painting :: Contemporary :: This piece comes with an official certificate of authenticity signed by the artist :: Ready to Hang:...

As a painter I love people in different situation and many colors :: Painting :: Contemporary :: This piece comes with an official certificate of authenticity signed by the artist :...

Painting: Acrylic, Paper and Resin on Canvas. Title: Tohu-bohu Original Mixed Media Abstract Painting Medium: Acrylic and paper Support: Stretched Canvas, Staple-free edges, Re...

Original Abstract Painting Medium: Acrylic Support: Stretched Canvas, Staple-free edges, ready to hang Size : 36?x 24?x 1.1/2? ( 91,44 cm x 60,96 cm x 3.81 cm ) Painting is signe...

Hédy Gobaa combines photography and painting in his production. In 2018, he defended a doctoral thesis at UQAM where he questioned the role of digital devices in the artistical creat...

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...

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...

Guillaume Lachapelle’s artistic practice is shaped predominantly by sculpture, expressed in the form of installations and detailed miniature models. Lachapelle presents playful unive...

On ne saurait rester indifférent par rapport à ses œuvres. Réputé pour être toujours mystérieux..... :: Painting :: Contemporary :: This piece comes with an official certific...