Bivouac is a scenographic installation composed of embroideries, drapery and staged objects referring the iconography of westerns and its wildlife in order to create a bewitched universe. Recently exhibited in Centre MATERIA, Quebec City, artists Isabelle Demers (Québec City), Anouk Desloges (Toronto) and Emilie Proulx (Québec City) collaborate at Sediment during a two-week residency to continue their collaborative work on Bivouac.
Exhibition opens Friday, February 1st from 6-9pm and runs through Sunday, February 24th. Sediment is open Friday, Saturday and Sunday from 1-6pm and by appointment.
We gratefully acknowledge the Canada Council for the Arts for their support of artists in this exhibition.
Nous remercions le Conseil des arts du Canada de son soutien.
Images courtesy of the artists from their exhibition, BIVOUAC at the Centre MATERIA, Quebec City, 2018
My work is rooted in an interest for storytelling, the creation of new visual events/situations and the use of scientific and craft-based processes. I don’t intend to trace some sort of causality for my attachment for living species, my scientific curiosity, my aesthetic or semantic choices. I illuminate watercolor herbaria and pyrograph bestiaries for which I sculpt secret hideouts. I grow mineral crystals using brine solutions and I cover animal-like shapes with countless layers of wax. I multiply plant cuttings and I care for my pieces the way one must care for young plants.
Working on a specific corpus, I strive to sow clues on potential links between the various visual elements that comprise it. This way, subtly, I play with narratives, structuring and restructuring them while forever leaving open and unresolved the possibility of a final outcome. I stage fixed, carefully selected moments that are free any type of linearity. These scenes somehow recall the photographic medium that, in the action of capturing a moment, suggests a suspension, an instability in the unfolding of events that cannot be fully grasped. In the spaces inhabited by my installations and bi-dimensional compositions, I disseminate omens that the visitor can explore visually, following a trail half dictated by me and half guided by his or her own engagement with the work.
Isabelle Demers lives and works in Québec city where she graduated from a Master program in Visual Arts at the Université Laval in 2012. Her artistic practice revolves around drawing, painting and installation. Her work has been seen multiple times in both solo and group exhibitions, including at the contemporary art gallery Laroche Joncas (Montréal, Qc), at the artist-run centre l’Oeil de Poisson (Québec City, Qc) and at Centre Regart (Lévis, Qc). In 2012, she was awarded the prestigious Prix Vidère for an emerging artist following her exhibition Lourd comme un cheval mort presented at La Chambre Blanche (Québec City, Qc). She also participated in the 29th edition of the International Symposium of Contemporary Art of Baie-St-Paul (Baie-St-Paul, Qc).
Highly crafted and distinctly mysterious, my embroidery practice explores the representation of abstract concepts; I attempt to illustrate what doesn’t exist in a physical form. The interpretations become intimate and filled with imagination, at once vulnerable, fragile and precious. The pieces present symbolic allegories and literary allusions according to developed themes in collaboration with participants or from autobiographical inspirations.
The embroidery is removed from its traditional support to adorn plastic and metal. Being trained as a sculptor, I juxtapose materials and techniques to create an illusion of depth and to reconsider the definition of two and three-dimensional compositions. This way, it is the thread itself that joins the perforated acrylic sheets one above the other. Furthermore, the background reveals quotes, colour range, textures, and so on. At the end, the pieces present symbolic allegories and literary allusions using unconventional techniques related to fiber art.
Being a daughter of garment manufacturers, Anouk Desloges literally grew up in a factory. Her practice has been undoubtedly influenced by that experience and it is visible in the plurality of techniques and materials she uses. She holds a BFA from Université Laval (Québec City) and a Diploma in Sculpture from the Maison des Métiers d’Art de Québec with honours. Her work has also been awarded a number of prizes and fellowships from a number of organizations including both the Ontario and Québec Art Councils. She has exhibited in Canada, France, Guatemala, Latvia and some pieces can be found in public and private collections. She now lives in Toronto since she was selected in 2013 into Harbourfront Centre Artist-in-Residence program for which she received the Dalglish Foundation Venture Award when she graduated.
Emilie Proulx embroiders as she draws. Using a needle and a thread, she observes her environment and documents its smallest details. The everyday is the central element of her artistic approach. Her embroideries are at once archives, stages and dialogues. They fix the moment while inventing and poetizing it. In any case, a narrativity imposes itself; the first intention of the artist is always to create a story between her and someone else. Emilie Proulx is inspired by the location where she embroiders. The idea of home, as a place of memories, is a recurring motivation in her art. Observer of our passage in its walls and guardian of time passing, the home fascinates the artist: using the simple thread, she explores its limits and its symbols.
Emilie Proulx lives and works in Québec City. She holds an Art Diploma from the Cégep de Sainte-Foy in addition to a Textile Design Diploma from the Maison des Métiers d’art de Québec. Since then, she curated the exhibition at the Centre Materia that marked their 10th anniversary, and her embroidery work has been part of various exhibitions and events in the province of Québec and in France including the Manif d’art 8 (Québec city, Qc) and the Symposium Arts et Rives (Lac-Etchemin, Qc). Her practice takes root in her day-to-day life; so much that the act of making becomes a ceremonial gesture.