{TRUE}SCIENCE

University of Sherbrooke, Quebec, Canada

The work follows the fictional premise of a collection of oddly formed heart specimens (Comparative || Anatomies).

Each heart shows particular distortions as if a lifetime of emotional experiences have left physical imprints––distensions, mutations, unrestrained growth and scars––on the intimate surface of the organ. The small pieces in {TRUE} Science further abstact the specific details of the Comparative Anatomies hearts.

Preliminary studies were first sculpted in clay and then scanned. These basic forms were the armatures for layers of digital painting. The final images were printed on metallic paper, attached to the top surface of small wooden blocks and then heavily encased in resin. Each block is aproximately 3.5 inches x 5.5 inches x 1.5 inches deep. The works are presented in groupings -- fragments of experience, trauma and joy.

 

MARIE PERRAULT
excerpt, University of Sherbrooke exhibition catalog

"...the repeated perception of details, of differences, of connections, leading to the identification of further details. In this looped presentation, so to speak, latent convergences and oppositions between images awaken interpretations favouring the proliferation of discontinuities, overlappings, fragmentations, and inconsistencies..."

MANON BLANCHETTE
excerpt, text for the Darling Foundry in Montréa:

"... details of the previous images covered over and over many times with varnish. Arranged as though a punctuation of a surface, these small paintings express here a rhythm and there is an intensity. Forever both seductive and strange, these abstract images transport us in to a universe in which the imprint of an unknown life remains..."

Installation Views

 


University of Sherbrooke, installation detail

Darling Foundry, Montreal, installation detail

 

EXHIBITION HISTORY

SOLO: University of Sherbrooke, curated by Johanne Broulliet, catalog essay by Marie Perrault, press release by Johanne Broulliet (catalog); Darling Foundry, Montréal Canada, director Caroline Andrieux, guest curated with exhibition essay by Manon Blanchette. GROUP: Love and Passion, Catherine Dianich Gallery, Brattleboro VT; For Emily [Dickinson], MacKenzie Art Gallery, Regina, Saskatchewan, curated by Tim Long, (permanent collection); HeartLand, Toronto International Art Fair, Canada, curated by Jeffrey Spalding.