Photo: City of Montreal
Ianick Raymond, “100 boards” (detail), 2018.
Represent, reproduce and even mimic a place on the principle of the repetition of a gesture, a pattern, that is a point common to both summer exhibition of the Maison de la culture Frontenac. Julie Ouellet and Ianick Raymond does not follow, however, not the same process. Together under the same roof these two artists in end of mastery, however, will have been a nice idea.
Both will transform the room and are vaguely in the genre landscape. First, the expo Will compel to lose is based on a dual-forest, with the subject matter and that of the material used — huge clear film. Second, the project to Paint again, based on a rigorous alignment of what appears to be wood, which draws a horizon while in motion.
Julie Ouellet is not a painter, but an artist. To Model a forest a day all seasons of the year, the title of the main work exposed, she proceeded to get shots of the felt. “Trace “, that is literally what she has done, as revealed in the video to discover in the back of the room.
The work was carried out in an old barn ripped open, open on a wooded area. The tarp translucent which serves as the blank page was placed in front of this natural landscape and Julie Ouellet has then tried to print with her felt that the light allowed him to see.
Photo: City of Montreal
Julie Ouellet, “Mapping a forest – process”, summer 2016.
In the exhibition hall, the superposition of the four tarps (one per season) multiplies the effects of readability and non-readability. The subject and its silhouette formed of numerous vertical lines, however, remain recognizable.
A second corpus of works on paper, less spectacular and of small size, insists, however, on the protocol of repetition and obsession to reproduce the impossible. Ouellet performs as in the past, the painter with his easel, with the difference that it leaves the time, fatigue, or weariness, absorb on the surface.
With its large number of vertical tables placed on the floor, the installation 100 boards of Ianick Raymond is a work that is experienced in multiple ways. From far and wide to enjoy the gradual movement of the whole. Aside to note that this alignment to the wall follows a slight ripple. Closely to observe the delicate degradation of tones between the tables.
Ianick Raymond is a painter, has been active for ten years, but the exhibition Paint it again is without a doubt its most sculptural, or at least the one that the more removed from the painting and its conventions. There is thus, apparently, no frame nailed to the wall.
These are the objects that make up 100 boards and, at first glance, it is a work that occupies space and transforms it. But these ” paintings-boards “, such as the names of the artist, are acrylic paintings, a real trompe-l’oeil to simulate the slats of a floor of hardwood, its dimensions, its colors, its patterns.
Non-figurative, the painting of Raymond is based, however, on a repetition of lines may evoke a universe specific. She confronts the material reality and potential illusion, abstraction and representation and, especially this time, area, and volume.
Work in situ, 100 boards not only reproduces the slats of the floor, “only the material of the place that is not already painted,” says the press release of the House of the culture, it takes place in the gap where floor and wall meet. It replaces the normal skirting board, as if it was thrown and contested, the time of a moment of imagination, in his passive role and indistinguishable.
Ianick Raymond creates a pictorial journey that is out of the limits of the frame. In appearance. Once past the experience of real space, visitors discover a second work, Recovery stubborn. In this table, in good and due form, the artist reproduces, always in trompe-l’oeil, a cluster of slats, as if it were a snapshot of the other work prior to installation. Space fictional of the painting, despite its more conventional, is no less effective.
Compel itself to lose/Paint it again
Julie Ouellet/Ianick Raymond. At the Maison de la culture Frontenac, 2550, rue Ontario est, until August 26.