Montreal - Art

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...

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...

For the last ten years, the work of Patrick Beaulieu has been built around the initiation of performative trajectories resulting in a corpus of visual artworks combining installation...

For the last ten years, the work of Patrick Beaulieu has been built around the initiation of performative trajectories resulting in a corpus of visual artworks combining installation...

For the last ten years, the work of Patrick Beaulieu has been built around the initiation of performative trajectories resulting in a corpus of visual artworks combining installation...

For the last ten years, the work of Patrick Beaulieu has been built around the initiation of performative trajectories resulting in a corpus of visual artworks combining installation...

For the last ten years, the work of Patrick Beaulieu has been built around the initiation of performative trajectories resulting in a corpus of visual artworks combining installation...

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...

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...

In Acts 2:3 of the Bible, flaming tongues lap at the disciples, conferring upon them the ability to speak languages not their own. These fiery tongues have signified the power of speech, persuasion, and the ability to preach to the masses. Ingrid Bachmann’s tongues in Pinocchio’s Dilemma are glossy as if sugarcoated and boiled into hard candies—a crystallization process. They are the only of her works that people have tried to lick. Alternately seductive and repulsive, they wag mechanically at eye-level, emitting a small wind-up machine language of their own. The tongue gives the impression an attempt to tell, a revealing of secrets. On the opposing side of the room, a rod extends slowly from a hole in the wall, inching out, then back in. Pinocchio’s nose is an instantly recognizable stand-in for lies, liars, fakes. Pinocchio originated as the protagonist of a 19th-century children’s book by the Italian writer Carlo Collodi, and was most famously adapted by The Walt Disney Company. The pre-Disney Pinocchio is unruly, violent and mischievous; his story was originally intended to be a tragedy in which the marionette is hung from an oak tree branch by his enemies. Angry Work contains a latent violence—that which is found in childhood games, stories, myths, novels, and in the tools of the everyday. Two 14-foot-long knitting needles—domestic weaponry—lean as dead as stones, cool and silent, against the wall. These weighted objects commune with three bronze tongues, pre-vocalizations, embalmed. Bronze is a silent material. Two drawings invoke Cassandra, who was promised the gift of prophecy by Apollo. When Apollo appeared to her, she refused his sexual advances. In some iterations of the story, Apollo appeared as a wolf surrounded by mice and spat on her tongue. She awoke with a taste on her tongue. Maybe metallic, maybe red. She had been granted the gift of prophecy, with one condition: no one would believe her. This burdened us with one of the earliest models of hysteria—speaking in tongues, speaking marred truths. Bachmann maintains that Angry Work is not limited to women’s anger, or to personal anger. It’s about generalized anger. “The red world And corresponding red breezes.” [1] A cloud of anger, hints of red. An amorphous unknown. “The Airborne Toxic Event” [2] that encapsulates truth, lies, histories repeated, struggle, strife, shock, grappling and anger, anger, anger. I am told that The Angry Machine weighs 400 pounds and emits a mechanized hum. It will be fenced in, for the protection of both viewers and itself. It will not perform on demand, but at scheduled intervals, only occasionally. It has a projectile that is red. Red is the memory of a children’s game, trying to avoid hitting yourself, to avoid the smack of something against your skin. Red is interiority: the tongue, cheeks, throat and kisses. One can “see red” in a fit of rage. Red is blood, and red is romance — “roses being burned alive.” [3] [1] Anne Carson...

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...

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...

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...

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...

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...

For years, Laurent Lamarche has questioned the relationship between nature and artifice by producing fictional living organisms. Lamarche’s practice explores the following question, ...

For years, Laurent Lamarche has questioned the relationship between nature and artifice by producing fictional living organisms. Lamarche’s practice explores the following question, ...

For years, Laurent Lamarche has questioned the relationship between nature and artifice by producing fictional living organisms. Lamarche’s practice explores the following question, ...

For years, Laurent Lamarche has questioned the relationship between nature and artifice by producing fictional living organisms. Lamarche’s practice explores the following question, ...

For years, Laurent Lamarche has questioned the relationship between nature and artifice by producing fictional living organisms. Lamarche’s practice explores the following question, ...

For years, Laurent Lamarche has questioned the relationship between nature and artifice by producing fictional living organisms. Lamarche’s practice explores the following question, ...

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...

Interaction with one of Lamontagne’s works is, simply put, a surreal experience. By using one of several points of entrance, viewers are permitted to experience multiple views of com...

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...

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 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...

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...

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...

Colleen Wolstenholme’s interest in the brain has flowed from her longstanding practice of making meticulous impressions of pharmaceutical drugs, such as Xanax, Prozac and Adderal, cr...

Colleen Wolstenholme’s interest in the brain has flowed from her longstanding practice of making meticulous impressions of pharmaceutical drugs, such as Xanax, Prozac and Adderal, cr...

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...

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...

To trip and retrip on a piece of land, a surface, a support that sets up not a bounce but a billow, a soft surge, a reverberation where the ground is friendly, known, familiar and th...

To trip and retrip on a piece of land, a surface, a support that sets up not a bounce but a billow, a soft surge, a reverberation where the ground is friendly, known, familiar and th...

Episodic / Épisodique consists of the continuation of my most recent photographic production, which explores the possibilities of representing the abstract contemplative sensation wi...

Episodic / Épisodique consists of the continuation of my most recent photographic production, which explores the possibilities of representing the abstract contemplative sensation wi...

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...

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...

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...

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...

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...

“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...

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...

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...

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...