Artistic Approch
I came to digital art thanks to fortuitous events that sometimes work so well: the price of high-resolution cameras became affordable and, as my time was not anymore, a luxury, I methodically set out to discover the Photoshop’s treasure troves of transformational tools.
For several years, I photographed everything of interest, always looking for that “moment of eternity.” Along with my new camera, the modern digital edition tools allowed me to build a bridge between my paintings and my photos. It is by trying to extract the very essence of these complex and powerful tools that I learned how to magnify, transform, and even explode my photos and my canvases – as well as my photos integrating my canvases – showing that, in art, a finish product is always a draft of what we intend to produce. My design work is always the product of a long patience; “Go back to your work again!” The digital work is, in an exemplary manner, a forced labour.
My artistic approach takes root in a moment’s thought. First, I wonder about the peculiarities of a photo which I plan to work on. What is happening after belongs to the mystery of art. I start my “digital painting” from this faint idea (quickly forgotten), with this fundamental peculiarity that my basic painting tools are not brushes and paints, but my computer’s set of transformational tools as brushes and my digitalized works as paints. Depending on my intuitions, I may integrate one or several photos, integration which can take various forms (the combinations in the Photoshop palette are virtually infinite), founded on a grid, a colour, the main motive, etc. An operation can be done directly in Photoshop or via my graphic tablet. It goes without saying that my natural drive is for light; not a frontal light, but a background light, coming from far away, the light which permeates and enhances everything, like through a stained glass.
After studying communication, she is, in sequence, journalist and radio host, advertising copywriter, radio programming assistant, radio producer, advertising executive for a newspaper and project officer for a vehicle regulatory agency. After living in Spain for two years, she comes back in Quebec to establish her own communication agency.
During her career in communication, she had to deal with various artists and artisans. Her collaboration with a photographer was particularly determinant. She was taught the rudiments of the profession and she learned with him how to seize these “moments of eternity” behind the innocuous aspects of daily life.
It is just at a late stage of her career that she came to concretize her passion for the graphic arts in a pictorial “œuvre.” In the nineties, she worked 3 years in a private workshop with the multidisciplinary artist Guy Vidal whose uncompromising stylistic purity has deeply influenced her personal work.
An inconspicuous and apprehensive perfectionist, it is just recently that this modest artist consented to expose her works into the light of public scrutiny. She broke the ice for the first time in May 2008 at the exhibition Au parc des artistes, followed in 2009 by the exhibition Sola at the Le 1040 Gallery. In October 2011 she was a double winner – an award for Excellence and an Audience award – at the Salon d’automne in the Musée des beaux-arts de Mont Saint-Hilaire. In 2014, she won again at the same Salon d’automne with the André Michel award.
During the last ten years, alongside her painter trajectory, she comes back to photography and opens a whole new path with the unbounded sophistication of the modern digital edition tools. In 2016 and 2017, she presents several digital prints at the collective exhibition Rebelles/Rebelles at the Sutton Art Plus Gallery. In 2018, the exhibition Duo Croisement intends to juxtapose a series of etchings from Lucille Pelletier, a traditional etcher, with her digital prints integrating Lucille’s printing plate. The exhibition is highly successful both by its purpose and by the artistic quality of the works exhibited. In September 2019, she takes part in the first symposium of the Art Sutton Gallery. Again, she witnesses the reaction of intense curiosity demonstrated for her method of production. From now on, she is working exclusively with her digital tools.
Let us point that her creations are born near exclusively from her photos and paint canvas. The light that flows from them leads to a chiaroscuro aspect which, with its nuances and vibrant colours, makes her akin to the thousand-year tradition of the European stained-glass artists.
