2017
Oil paint on an antique painted tableau figuring a landscape on canvas signed Clara Bédard, gilded frame, 105 x 129 cm.
Image source of animals: media and stills from the film version of Histoire de Pi, a book written by Yann Martel in 2001.
Painting
Critical of formalist art, I continue to draw from the variety of forms and shapes of the world. With the human body forever being shaped by new meanings, I continue to examine the structure of human figures, observing attitude and behaviour with a recent introduction of animals in my representations. At the beginning of my creative process, I let pile up visual and social impressions that disturb and/or affect me at the same time hoping for a revelatory moment when I will feel an uncontrolled desire to bring life to the images born from that time and place. I believe the artist is a medium. At the end of the day, a project consists of stocked up mental images of which I feel some have to be shared imperatively. Next, I rationalize the sum of ideas retained and develop a well thought out concept.
Why do I persist to paint? I wish to think of all visible elements of the world like Cézanne used to, with a visionary eye, looking over and over for intrinsic forces within matter, the ones that determine an object to be as it is and not otherwise. To paint is to continue to believe that the fictionality of images will continue to reveal dreams, ideas and emotions. I have great admiration for sensitive artists inspired by the environment like Gilles Aillaud, Emil Nolde, Franz Marc and Cai Guo-Qian.
When not mentioned photos are by Guy L’Heureux.
Why do I persist to paint? I wish to think of all visible elements of the world like Cézanne used to, with a visionary eye, looking over and over for intrinsic forces within matter, the ones that determine an object to be as it is and not otherwise. To paint is to continue to believe that the fictionality of images will continue to reveal dreams, ideas and emotions. I have great admiration for sensitive artists inspired by the environment like Gilles Aillaud, Emil Nolde, Franz Marc and Cai Guo-Qian.
When not mentioned photos are by Guy L’Heureux.
Piquenique
2015
Acrylic on canvas, 100 x 76 cm.
Image source: media.
Bain de soleil
2015
Acrylic on canvas, 100 x 76 cm.
Image source: media.
Diamant jaune
2015
Acrylic on canvas, 100 x 76 cm.
Image source: media.
The news today
2013
Acrylic on canvas, moulding frames, 244 x 122 cm.
Image source: newspaper and media photos.
Histogramme
2013
A geo-art group of six paintings: acrylic on canvas, increasing sizes from 16 x 41 cm to 213 x 41 cm.
Image source: the installation is made to resemble the bars of a histogram graph that displays different variables. In this case, contrary to art history, the rich are pictured in small frames and the poor in big ones.
Image source: media.
Eliot
2013
Acrylic on canvas, 180 x 130 cm
Image source : child model
Lune d’hiver
2008
Acrylic on floating canvas, 180 x 150 cm.
Image source: young men and women in a swimming pool.
Pastiche de Warhol made in Quebec
2008
Acrylic on mounted cotton on plywood, 81,5 x 41 cm.
Image source : a Quebec can of maple syrup.
Les rois
2006
Group of six paintings: oil paint on linen mounted on plywood, 92 x 46 cm each.
Process : 7 young women took part in a body painting session. The decor was of abstract coloured walls and chairs. The clothes were kept minimal and the hair was coloured. Even though not directing their each move, I encouraged them to think of power as an innate feminine quality and improvise on it. I took hundreds of shots. 12 chosen photographs were part of an end of century art calendar. Because these were so poignant I decided to perpetuate them and return them to painting in a Beaux-Arts manner. Titles include Le Roi des rois, Stigmates, Affres, Collusion, L’Enfant-Roi and Le traité.
Insurrection
2006
A black and white 12 section painting, acrylic on plywood, 86 x 116 cm, each square 26 x 26 cm.
Process : 12 squares refer to the 12 days of the 1956 Hungarian Insurrection. What seems like a bicycle ride in a rural landscape holds between the apparent shapes, tiny scenes of the uprising taken from historical documents.
Transe 1
2006
Acrylic on canvas stapled on recycled plywood, 160 x 152 cm.
Image source: female model and personal pictures.
Transe 2
2006
Acrylic on canvas stapled on recycled plywood, 170 x 160 cm.
Image source: female model and personal pictures.
Cosmétique
2002
Group of 45 paintings, tempera and acrylic on raw cotton, 61,5 x 61,5 cm each.
Image source: personal pictures.
Hommage à Bacon
2001
Acrylic on floating canvas, 245 x 214 cm.
Image source: drippings technique inspired by Francis Bacon’s interpretation of Le pape Innocent X (1953) originally painted by Diego Velásquez in 1649.
UFO
2001
Acrylic on canvas, 90 x 110 cm.
Homme en croix
2001
Acrylic on canvas stapled to a rectangular wooden block, 122 x 245 x 30 cm.
Process: sketching on site with male model. Once fully painted, an extra layer of finger paint was applied all over which served to mask the image. In front of an audience, this layer was scraped off, revealing slowly the underlying image.
Pied de nez
1996
Acrylic on sheet of transparent acrylic medium, black and white print on sheet of transparent acrylic medium, rusted iron frame, 210 x 305 x 25 cm.
Image source: animal and nude self-portrait from personal pictures.
Eliane et Vanessa
1996
Acrylic on canvas, 152 x 170 cm.
Image source: two female models.
La banane
1996
Acrylic on canvas, patronymic band made of coloured threads, 152 x 152 cm.
Image source: personal pictures.
Le trajet
1996
Acrylic on canvas, 90 x 60 cm.
Image source: two female models.
Policeman
1996
Acrylic on canvas, 60 x 120 cm.
Image source: media.
Camion
1996
Juxtaposition of two versions of the same composition, acrylic on paper, 55 x 39 cm each.
Image source: media.
Tricycle
1996
Acrylic on unfixed canvas, 152 x 180 cm.
Image source: personal pictures.
Ballon rouge
1996
Acrylic on canvas, 58 x 50 cm.
Image source: personal picture.