Montreal

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...

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 ...

During the summer of 2017 and 2018, Patrick Beaulieu realized the performative excursion EL PERDIDO. Travelling with the geographer Alexis Pernet on board a 1977 Dodge camper van, th...

Through photography, Michel Piquette creates captures of time, animated by a paradoxical quest for an image preceding any technique. By weaving together aspects of geometry and abstr...

Through photography, Michel Piquette creates captures of time, animated by a paradoxical quest for an image preceding any technique. By weaving together aspects of geometry and abstr...

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...

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 univ...

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 univ...

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 univ...

In the digital age, we collectively photograph everything all of the time. But how much does anyone remember from a scene or a moment when looking at a digital photo? Someone could g...

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...

When does a line on a page become figurative? The series of drawings by Mexican artist Renato Garza Cervera entitled Mareas Humanas (Conflictos II) / Human Tides (Conflicts II) satis...

Hédy Gobaa uses his immediate surroundings as his subject matter. Gobaa presents recognizable flora in a disembodied context, and the result is at once familiar and jarring. As of la...

Four years ago, I stumbled upon the site of a log-home developer on the traditional territory of the We Wai Kai Nation, my reserve on northeastern Vancouver Island. I found it comica...

Hédy Gobaa uses his immediate surroundings as his subject matter. Gobaa presents recognizable flora in a disembodied context, and the result is at once familiar and jarring. As of la...

Through photography, Michel Piquette creates captures of time, animated by a paradoxical quest for an image preceding any technique. By weaving together aspects of geometry and abstr...

Hédy Gobaa uses his immediate surroundings as his subject matter. Gobaa presents recognizable flora in a disembodied context, and the result is at once familiar and jarring. As of la...

Hédy Gobaa uses his immediate surroundings as his subject matter. Gobaa presents recognizable flora in a disembodied context, and the result is at once familiar and jarring. As of la...

Hédy Gobaa uses his immediate surroundings as his subject matter. Gobaa presents recognizable flora in a disembodied context, and the result is at once familiar and jarring. As of la...

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...

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...

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...

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...

Messages in a Bottle Text by Cameron Skene “Metaphysics is a dark ocean without shores or lighthouse, strewn with many a philosophic wreck.” - Immanuel Kant A recent online story i...

Messages in a Bottle Text by Cameron Skene “Metaphysics is a dark ocean without shores or lighthouse, strewn with many a philosophic wreck.” - Immanuel Kant A recent online story i...

Nestled between artistic innovation and scientific discovery, Laurent Lamarche’s work explores the boundaries between art and science, nature and artifice, and fact and fiction. Lama...

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...

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

It is within the locality of the dream where we are at once sentient of ourselves within a multitude of reflections. The momentary awareness of self reveals transitions between those...

It is the luminous colours of Michel Piquette’s works that first catch the eye. His chromatic circles that stir up vision take root in an aesthetic tradition a few decades old alread...

Arthur Villeneuve, Canadian, 1910-1990 Untitled Oil on panel 4 1/2 x 6 in Signed lower right Framed For our US customers: 1) The artwork is shipped from Montreal, Canada; 2) Please ...

It is the luminous colours of Michel Piquette’s works that first catch the eye. His chromatic circles that stir up vision take root in an aesthetic tr...

Holly King creates large format photographic landscapes in her studio with sculptural props and painted backdrops. She is interested in the tension between artifice and constructed r...

Holly King creates large format photographic landscapes in her studio with sculptural props and painted backdrops. She is interested in the tension between artifice and constructed r...

Text by Sevan Injejikian Nestled between artistic innovation and scientific discovery, Laurent Lamarche’s work explores the boundaries between art and science, nature and artifice, and fact and fiction. Lamarche crumples, heats, sculpts, scans, crops, and projects recuperated plastic – his material of choice – to create images and sculptures that are at once ambiguous and evocative. Lamarche’s manipulation of plastic as a medium retains a sense of play. The resulting works include an oversized sculpture...

Text by Anaïs Castro It is the luminous colours of Michel Piquette’s works that first catch the eye. His chromatic circles that stir up vision take...

Text by Amber Berson Canadian photographer Holly King’s Mangrove series is an investigation into the artist’s own subconscious. The photographs border on the uncanny, although never uncomfortably so. Instead, her preternatural compositions engage the viewer’s curiosity – the viewer is not sure how to approach, and yet is drawn to do so. At times the images are reflective, occasionally disquieting and always thought provoking. The twisted roots of the mangrove forests that form the base of this series provide an entry point for an investigation into the shadowy parts of the artist’s imagination. The differences between what we know to be real and what we perceive as real are often slight. The work of Holly King stems from an attempt to prevail over the uncharted territory of both her imagination and that which is perceived as true. In her creations, King endeavours to understand her subconscious mindscape as manifested through photographs recalling actual landscapes. This new series, stemming from earlier pieces also focused on roots, reflects King’s interest in drawing, in the linear subject and in geometric abstraction. It is a move away from previous series – despite the photographic medium in which King works, her oeuvre has contained a certain painterly quality. These new photographs tend to melt into themselves, drawing the viewer in and letting the imagination drift. The Mangrove series causes the viewer to approach with at a slower pace, to investigate deeply into the darker nooks and crannies and to attempt to find reason within a work that so clearly plays with our understanding of real and imaginary. Nothing is incidental in King’s photographs...

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 relic of Sir John Frankl...

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...

Pair of large black marble urns (marquino negro).

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...

It is the luminous colours of Michel Piquette’s works that first catch the eye. His chromatic circles that stir up vision take root in an aesthetic tradition a few decades old alread...

Text by Marsha Taichman Holly King’s photographs draw from memories of landscapes, and reference film, art and literature. Her images are cinematic ...

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 relic of Sir John Frankl...

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...

Thomas Hilton Garside, 1906 – 1987, Canadian Oil on canvas 14 x 18 in 30,5 x 40,6 cm Signed lower right framed For our US customers: 1) The artwork is shipped from Montreal, Canada;...

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

Empire style marble-top nightstand or console. One drawer and lower ledge, gilt bronze details and neoclassical columns.

La Métacrise was created as a prelude to the Metamonument project, which is a constellation of physical and virtual works to be presented in January 2026. Building on previous exhibi...

La Métacrise was created as a prelude to the Metamonument project, which is a constellation of physical and virtual works to be presented in January 2026. Building on previous exhibi...

La Métacrise was created as a prelude to the Metamonument project, which is a constellation of physical and virtual works to be presented in January 2026. Building on previous exhibi...

La Métacrise was created as a prelude to the Metamonument project, which is a constellation of physical and virtual works to be presented in January 2026. Building on previous exhibi...

La Métacrise was created as a prelude to the Metamonument project, which is a constellation of physical and virtual works to be presented in January 2026. Building on previous exhibi...

La Métacrise was created as a prelude to the Metamonument project, which is a constellation of physical and virtual works to be presented in January 2026. Building on previous exhibi...

La Métacrise was created as a prelude to the Metamonument project, which is a constellation of physical and virtual works to be presented in January 2026. Building on previous exhibi...

Simply Beautiful! Green Tourmaline and Pave Diamond Gold Solitaire Vintage Cocktail Ring. Centering 3 Carat Round Checkerboard Green Tourmaline. Surrounded by Pave Diamonds, weighing...

Alfred Pellan, Canadian, 1906-1988 Chats et poissons, 1968 Serigraph 20 x 16 in (image) signed, titled, dated 1968 and numbered (edition of 100) in the lower margin blind stamp from ...

Fernand Toupin, Canadian, 1930-2009 L'Ile Noire, 1975 Oil on board 11 x 16 in 27.9 x 40.6 cm Signed and dated ’75 lower right framed For our US customers: 1) The artwork is shipped ...

Albert Rousseau, Canadian, 1908 - 1982 Oil on panel 16 x 20 in signed and dated on lower right A. Rousseau 73 titled verso Framed For our US customers: 1) The artwork is shipped fro...

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