Bio
I live and work in Montreal, where I completed my master’s degree in visual arts at UQAM. My work has been presented in solo and group exhibitions in Quebec, Canada, Europe and Asia. My sculptures and paintings are featured in public collections, including those at the Musée National des Beaux-Arts du Québec and in the Laval Art Collection, as well as in private collections.
Artist’s Statement
To make my thought process visible, and at times audible, I work in sculpture, performance, drawing and video, as suited to the circumstances. Fascinated by the generosity and the strangeness of the world around me, I collect cast-offs and gather fragments, both natural and industrial. These bits of nothing are precious to me and contaminate my practice without my understanding their full significance. In building my creations, which tend to have a tragicomic air, my interest in projection and camouflage as defence mechanisms comes to the fore.
In sculpture, I explore ways of socially appearing through a polysemy of shapes and materials. I refer to the living in a multitude of ways, and, more specifically, the body, without directly representing it, to bring about shifts in meaning. From observing psychological phenomena that manifest below the threshold of perception, I portray attitudes that resemble codified or disrupted postures. At the same time, I try to bring opposing forces into coexistence, to create connections between what at first glance may seem irreconcilable: dissonances and incompatibilities. As a way of organizing meaning in a single space, I shine a light on improbable encounters that allow the unspoken to emerge. I enjoy playing with and transgressing codes, defying what we think we know about heavy and light, hard and soft, dark and light.
I design my sculptural installations as resonances of a reality in perpetual motion. They engage the senses, inviting the whole body to participate in the gaze. Guided by our senses, our gaze is invited through these circuits, exploring the many layers of representation and referent.
In performance, my practice is fuelled by the search for an authentic presence through simple gestures, whether in a collective or solo context. In solo work, I use manufactured objects and familiar, everyday items without altering them. Instead, I create shifts in meaning by displacing their functions through movements that are both intimate and detached from my body.
Ultimately, I am interested in the construction of meaning and the concept of how we perceive reality. As a result, movement, impermanence, and the fleeting aspect of things are focal points of my practice.