"My life without gravity"
Video, 25 sec.
2008
"Rocking Reflexion"
1999
Styrofoam, plaster, enamel, mirror, shoes
30 X 90 X 60 cm
Photo: Daniel Roussel
Fantasia bag
1999
Bag, disco light, roulette
60 X 30 X 15 cm
Photo: P.Litherland
Portable Summer Spirit
1999
Wood, film plastic imitation wood, vegetation synthetic, acrylic sheet, shoes, lights, electric wire, handle attachments
15 X 60 X 40 cm
"Small portable Landscape / Paysage miniature mobile"
1999
Service table, sweets, synthetic plants, cabbage leaves dried and varnished, plastic beads
65 X 70 X 40 cm
Photo: P. Litherland
"Affectionland" is an accumulation of every day cheap items from « dollar stores » embodied in a Disneyland style castle. The silhouette of the castle is “shadow cast” on the adjacent wall. This « scale model » rests on a surface fitted with casters and knobs implying a takeaway world of wonders.
1999-2000
Photo: Paul Litherland
"Affectionland" is an accumulation of every day cheap items from « dollar stores » embodied in a Disneyland style castle. The silhouette of the castle is “shadow cast” on the adjacent wall. This « scale model » rests on a surface fitted with casters and knobs implying a takeaway world of wonders.
1999-2000
Photo: Paul Litherland
"Attractions" is an intervention in the window of a travel agency. Jewels and plastic necklaces outline the contour of the map of Montreal. On this 'geographic map' (fabricated map) can be read the names of various tourist attractions, as fictitious as much as they are improbable such as 'The Tower of Free Compensation' or 'The Mount of Standardized Vertigo'.
2001
Photo: Paul Litherland
"Attractions" is an intervention in the window of a travel agency. Jewels and plastic necklaces outline the contour of the map of Montreal. On this 'geographic map' (fabricated map) can be read the names of various tourist attractions, as fictitious as much as they are improbable such as 'The Tower of Free Compensation' or 'The Mount of Standardized Vertigo'.
2001
Photo: Paul Litherland
"Caroussel (Alice's Revolutions)"
Wood, metal, plastic pearls, motor, mirror.
2001
"A Castle in Spain (Un château en Espagne)" is an "in situ" installation realized in the closet of the Glassbox gallery in Paris. In the opening of the closet one sees a set-up of Houses of cards, oriental vases, metallic plates from floor to ceiling all basking in blue light. The walls inside the closet are covered of mirrors, thus producing an effect of infinity.
2002
Photo: Catherine Bolduc
"Solipsism (Solipsisme)" is composed of numerous Houses of cards placed inside triangular, undulated, translucid forms. Eighty coloured lightbulbs buried under the cards blink out of sync. The blinking is controlled by four distinctive electronic circuits, thus creating an unpredictable rhythm. The Houses of cards appear and disappear as their shadows are cast like Chinese silhouettes on the surface of the undulated plastic forms. A megaphone amplifies the sounds generated by the electrical components.
2004
Photo: Paul Litherland
"Solipsism (Solipsisme)" is composed of numerous Houses of cards placed inside triangular, undulated, translucid forms. Eighty coloured lightbulbs buried under the cards blink out of sync. The blinking is controlled by four distinctive electronic circuits, thus creating an unpredictable rhythm. The Houses of cards appear and disappear as their shadows are cast like Chinese silhouettes on the surface of the undulated plastic forms. A megaphone amplifies the sounds generated by the electrical components.
2004
Photo: Paul Litherland
Cake Landscape
2004
Wood, acrylic sheet, chocolate, wax, jewelry, beads of plastic and light
Height without stand: 22 cm; with stand:112 cm, diameter : 35 cm
Photo: P. Litherland
"The Lost Island"
2006
Wood, wax, chocolate, acrylic sheet thermo-formed, necklaces and earrings, flashing light, text
240 X 240 X 30 cm (+ text, variable)
"The lost Island
I am not a warrior. I imagine an ideal isolated, withdrawn world. On the map, I choose the smallest and most remote island. I choose the lost and deserted island. The Lost Island is invisible. It is a magical space located on the boundaries of the universe, an unknown, exotic but at the same time familiar island. It is a commonplace area of consolation. The Lost island is miraculously protected. It remains un- contaminated by war, disease, famine, poverty, injustice. On its territory are abolished all forms of disappointment, despair, heart-break, professional failure, anxiety, anguish, unsatisfied aspirations, anger, frustration, stress, self-devaluation, hatred, annoyance, impatience, neurosis, intolerance, misunderstanding, shortages, homesickness, mourning, melancholia, neurasthenia, laziness, break-ups, negative thinking, suicide, depression, premenstrual tension, unhappiness, fatigue, bad luck, despondency, violence, emotional insecurity, unstable feelings, financial precariousness, inadequacy, guilt feeling, paranoia, aggression, uncertainty, emotional disorder, insomnia. On The Lost Island, desires are fulfilled, the pursuit of happiness has been resolved, cheerfulness is law».
2004
"The Lost Island"
2006
Wood, wax, chocolate, acrylic sheet thermo-formed, necklaces and earrings, flashing light, text
240 X 240 X 30 cm (+ text, variable)
photos: P. Litherland
"Castles in Spain again (Encore des châteaux en Espagne)" is an "in situ" installation realized in the hallway of the small room of the Circa gallery. A door, left ajar obstructs the entrance to the gallery and prevents its access. In the partial opening of this door appears an accumulation of chopsticks and oriental hats in an indeterminate space brought about by means of plastic mirror sheets multiplying the objects ad infinitum. The whole basks in blue lighting.
2005
Photo: Guy L'Heureux
"Castles in Spain again (Encore des châteaux en Espagne)" is an "in situ" installation realized in the hallway of the small room of the Circa gallery. A door, left ajar obstructs the entrance to the gallery and prevents its access. In the partial opening of this door appears an accumulation of chopsticks and oriental hats in an indeterminate space brought about by means of plastic mirror sheets multiplying the objects ad infinitum. The whole basks in blue lighting.
2005
Photo: Guy L'Heureux
"Castles in Spain again (Encore des châteaux en Espagne)" is an "in situ" installation realized in the hallway of the small room of the Circa gallery. A door, left ajar obstructs the entrance to the gallery and prevents its access. In the partial opening of this door appears an accumulation of chopsticks and oriental hats in an indeterminate space brought about by means of plastic mirror sheets multiplying the objects ad infinitum. The whole basks in blue lighting.
2005
Photo: Guy L'Heureux
"The Chinese Game (Le jeu chinois)" is an "in situ" installation inspired by a childhood anecdote of mine: I longed for this promised marvellously exotic gift but finally experienced the deception of discovering a very commonplace construction toy « made in China ». The installation appears thus: in the middle of a wall blocking the entrance to the gallery a door catches the eye by means of stroboscopic lighting seen through its window. Across the door, one enters a hallway, at the end of which one reaches a circular space, the walls of which are covered with distorting mirrors. Facing these sheets is a sizeable accumulation of coloured straws, significantly multiplied because of the mirror effect. The stroboscopic phenomenon is so fierce as to make it hardly bearable for one to stay in the room for more than a few minutes.
2005
Photo: Richard Max-Tremblay
"The Chinese Game (Le jeu chinois)" is an "in situ" installation inspired by a childhood anecdote of mine: I longed for this promised marvellously exotic gift but finally experienced the deception of discovering a very commonplace construction toy « made in China ». The installation appears thus: in the middle of a wall blocking the entrance to the gallery a door catches the eye by means of stroboscopic lighting seen through its window. Across the door, one enters a hallway, at the end of which one reaches a circular space, the walls of which are covered with distorting mirrors. Facing these sheets is a sizeable accumulation of coloured straws, significantly multiplied because of the mirror effect. The stroboscopic phenomenon is so fierce as to make it hardly bearable for one to stay in the room for more than a few minutes.
2005
Photo: Richard Max-Tremblay
"The Chinese Game (Le jeu chinois)" is an "in situ" installation inspired by a childhood anecdote of mine: I longed for this promised marvellously exotic gift but finally experienced the deception of discovering a very commonplace construction toy « made in China ». The installation appears thus: in the middle of a wall blocking the entrance to the gallery a door catches the eye by means of stroboscopic lighting seen through its window. Across the door, one enters a hallway, at the end of which one reaches a circular space, the walls of which are covered with distorting mirrors. Facing these sheets is a sizeable accumulation of coloured straws, significantly multiplied because of the mirror effect. The stroboscopic phenomenon is so fierce as to make it hardly bearable for one to stay in the room for more than a few minutes.
2005
Photo: Richard Max-Tremblay
"The Chinese Game (Le jeu chinois)" is an "in situ" installation inspired by a childhood anecdote of mine: I longed for this promised marvellously exotic gift but finally experienced the deception of discovering a very commonplace construction toy « made in China ». The installation appears thus: in the middle of a wall blocking the entrance to the gallery a door catches the eye by means of stroboscopic lighting seen through its window. Across the door, one enters a hallway, at the end of which one reaches a circular space, the walls of which are covered with distorting mirrors. Facing these sheets is a sizeable accumulation of coloured straws, significantly multiplied because of the mirror effect. The stroboscopic phenomenon is so fierce as to make it hardly bearable for one to stay in the room for more than a few minutes.
2005
Photo: Richard Max-Tremblay
"I Lie (Je mens)" is an intervention which takes up the storefront windows of a vacant arts and crafts shop at Saint-Jean-Port-Joli in the province of Quebec in Canada, a village whose right-to-fame is its traditional wood carving. The passer-by is invited to look through portholes, one of which opens on an indeterminate space filled with smoke. In the others drawings of labyrinths carved on mirrors, allow light from the interior of the window to flow through.
2006
Photo: Catherine Bolduc
"I Lie (Je mens)" is an intervention which takes up the storefront windows of a vacant arts and crafts shop at Saint-Jean-Port-Joli in the province of Quebec in Canada, a village whose right-to-fame is its traditional wood carving. The passer-by is invited to look through portholes, one of which opens on an indeterminate space filled with smoke. In the others drawings of labyrinths carved on mirrors, allow light from the interior of the window to flow through.
2006
Photo: Catherine Bolduc
"I Lie (Je mens)" is an intervention which takes up the storefront windows of a vacant arts and crafts shop at Saint-Jean-Port-Joli in the province of Quebec in Canada, a village whose right-to-fame is its traditional wood carving. The passer-by is invited to look through portholes, one of which opens on an indeterminate space filled with smoke. In the others drawings of labyrinths carved on mirrors, allow light from the interior of the window to flow through.
2006
Photo: Catherine Bolduc
"The other side of the world (Le bout du monde)" consists of a front door sunken at ground level on a hillside. From the door’s inside is heard the sound of a music box playing the theme from « Love Story » but surreptitiously blurred by the sounds of fireworks and thunder. Through the peephole, where a stroboscope flashes, the onlooker catches a glimpse of a luminous twinkle recalling a starry sky, as if the world were upside down.
2007
Photo: Catherine Bolduc
"The other side of the world (Le bout du monde)" consists of a front door sunken at ground level on a hillside. From the door’s inside is heard the sound of a music box playing the theme from « Love Story » but surreptitiously blurred by the sounds of fireworks and thunder. Through the peephole, where a stroboscope flashes, the onlooker catches a glimpse of a luminous twinkle recalling a starry sky, as if the world were upside down.
2007
Photo: Catherine Bolduc
"The other side of the world (Le bout du monde)" consists of a front door sunken at ground level on a hillside. From the door’s inside is heard the sound of a music box playing the theme from « Love Story » but surreptitiously blurred by the sounds of fireworks and thunder. Through the peephole, where a stroboscope flashes, the onlooker catches a glimpse of a luminous twinkle recalling a starry sky, as if the world were upside down.
2007
Photo: Catherine Bolduc
"My life without gravity" is an installation with flashes of light synchronized to the sounds of fire works that seep from a hidden core and perceptible through the perforated wall of the apparently closed-in space: a white cube. The tiny holes blink enticingly like imitations of mysterious stellar constellations in a dark night sky. After walking until the other side of the white cube, a video projection shows the artist making various attempts - all doomed to failure - to overcome earth’s gravity or to penetrate the fog that conceals the passionately longed-for ‘somewhere else’.
2008
Photo: Maxime Ballesteros
"My life without gravity" is an installation with flashes of light synchronized to the sounds of fire works that seep from a hidden core and perceptible through the perforated wall of the apparently closed-in space: a white cube. The tiny holes blink enticingly like imitations of mysterious stellar constellations in a dark night sky. After walking until the other side of the white cube, a video projection shows the artist making various attempts - all doomed to failure - to overcome earth’s gravity or to penetrate the fog that conceals the passionately longed-for ‘somewhere else’.
2008
Photo: Maxime Ballesteros
"My life without gravity" is an installation with flashes of light synchronized to the sounds of fire works that seep from a hidden core and perceptible through the perforated wall of the apparently closed-in space: a white cube. The tiny holes blink enticingly like imitations of mysterious stellar constellations in a dark night sky. After walking until the other side of the white cube, a video projection shows the artist making various attempts - all doomed to failure - to overcome earth’s gravity or to penetrate the fog that conceals the passionately longed-for ‘somewhere else’.
2008
Photo: Maxime Ballesteros
Exhibition "Sparkling Reality and perforated Illusion"
LADA Project, Berlin.
2008
Photo: Maxime Ballesteros
"My life without gravity (Ikea version)" is a Ikea wardrobe with holes on his walls and some flashes of light synchronized to the sounds of fire works inside of it. The tiny holes blink enticingly like imitations of mysterious stellar constellations in a dark night sky.
2008
Photo: Maxime Ballesteros
"My secret life (from the Ikea serie)" is a Ikea wardrobe with a construction made of wool of steel and plastic pearls inside. The accumulation appears in an indeterminate space because some mirrors on the inside walls of the wardrobe are multiplying it ad infinitum. The whole basks in blue lighting.
2008
Photo: Maxime Ballesteros
"My secret life (from the Ikea serie)" is a Ikea wardrobe with a construction made of wool of steel and plastic pearls inside. The accumulation appears in an indeterminate space because some mirrors on the inside walls of the wardrobe are multiplying it ad infinitum. The whole basks in blue lighting.
2008
Photo: Maxime Ballesteros
"My secret life (from the Ikea serie)" is a Ikea wardrobe with a construction made of wool of steel and plastic pearls inside. The accumulation appears in an indeterminate space because some mirrors on the inside walls of the wardrobe are multiplying it ad infinitum. The whole basks in blue lighting.
2008
Photo: Maxime Ballesteros
"Mes châteaux d'air / My Air Castles"
Exhibition at Centre Expression, Saint-Hyacinthe, Canada.
2009
photo: Daniel Roussel
"Mes châteaux d'air / My Air Castles"
Exhibition at Centre Expression, Saint-Hyacinthe, Canada.
2009
photo: Daniel Roussel
"Air Castle (Château d'air)" is a "castle" made with 16 doors, all locked, and build like a house of cards. "Air Castle" is a new version of the installation "My life without gravity". Flashes of light synchronized to the sounds of fire works that seep from a hidden core and perceptible through the perforated wall of the apparently closed-in space. The tiny holes blink enticingly like imitations of mysterious stellar constellations in a dark night sky.
Photo: Daniel Roussel
"My Air Castles (Mes châteaux d'air)" is an installation made with IKEA wardrobe, light and sounds. Some are a reconstruction of site specific installations, like an "IKEA" version" of the piece.
Photo: Daniel Roussel
"My Air Castles (Mes châteaux d'air)" is an installation made with IKEA wardrobe, light and sounds. Some are a reconstruction of site specific installations, like an "IKEA" version" of the piece.
Photo: Daniel Roussel
"Floating landscape"
Watercolor on paper.
35,5 X 51 cm
2006
Photo: Paul Litherland
"Red Landscape"
2006
Watercolor on paper
140 cm X 180 cm
photo : Daniel Roussel
"Maze"
Watercolor on paper.
180 X 140 cm
2007
Photo: Daniel Roussel
"Red tower"
Watercolor on paper.
180 X 140 cm
2007
Photo: Catherine Bolduc
"Blue Forest"
Watercolor on paper.
180 X 140 cm
2007
Photo: Catherine Bolduc
"Stressed Landscape"
2008
Watercolor on paper
140 cm X 96,5 cm
Photo: Catherine Bolduc
"Landscape with Volcanos"
2008
Watercolor on paper
180 cm X 140 cm
photo : Daniel Roussel
"Landscape with Pearls"
2008
Watercolor on paper
188 cm X 140 cm
photo : Daniel Roussel
"Landscape with Black Lava"
2007-2008
Watercolor on paper
186 cm X 140 cm
photo : Daniel Roussel
"Wedding Cake"
2008-2009
Watercolor on paper
181cm X 140 cm
photo : Paul Litherland
"Mandrake (To the friend to whom I did not save the life)"
2008-2009
Watercolor and gouache on paper
193 cm X 140 cm
photo : Paul Litherland
"In my Head it’s a Mountain"
2009
Watercolor and gouache on paper
198,6 cm X 140 cm
photo : Paul Litherland
"Chimeras and Serotonin"
2009
Watercolor and gouache on paper
188,5 cm X 140 cm
photo : Paul Litherland
"Cenderella in Cappadocia"
2009
Watercolor and gouache on paper
196,5 x 140 cm
photo : Paul Litherland
"The Mythmaker's Journey"
Drawings
2010
photos: P. Litherland
"Mes châteaux d'air / My Air Castles"
Exhibition at Maison des arts de Laval, Canada.
2010
photos: P. Litherland
"Mes châteaux d'air / My Air Castles"
Exhibition at Maison des arts de Laval, Canada.
2010
photos: P. Litherland
"Mes châteaux d'air / My Air Castles"
Exhibition at Maison des arts de Laval, Canada.
2010
photos: P. Litherland
"Mes châteaux d'air / My Air Castles"
Exhibition at Maison des arts de Laval, Canada.
2010
photos: P. Litherland
"Mes châteaux d'air / My Air Castles"
Exhibition at Maison des arts de Laval, Canada.
2010
photos: G. L'Heureux
"Mes châteaux d'air / My Air Castles"
Exhibition at Maison des arts de Laval, Canada.
2010
photos: P. Litherland
"Mes châteaux d'air / My Air Castles"
Exhibition at Maison des arts de Laval, Canada.
2010
photos: G. L'Heureux
"Mes châteaux d'air / My Air Castles"
Exhibition at Maison des arts de Laval, Canada.
2010
photos: G. L'Heureux
"Mes châteaux d'air / My Air Castles"
Exhibition at Maison des arts de Laval, Canada.
2010
photos: P. Litherland
"Mes châteaux d'air / My Air Castles"
Exhibition at Maison des arts de Laval, Canada.
2010
photos: P. Litherland
"Mes châteaux d'air / My Air Castles"
Exhibition at Maison des arts de Laval, Canada.
2010
photos: P. Litherland
"Mes châteaux d'air / My Air Castles"
Exhibition at Maison des arts de Laval, Canada.
2010
photos: G. L'Heureux
"Mes châteaux d'air / My Air Castles"
Exhibition at Maison des arts de Laval, Canada.
2010
photos: P. Litherland
"Mes châteaux d'air / My Air Castles"
Exhibition at Maison des arts de Laval, Canada.
2010
photos: P. Litherland
"While waiting to see Mount Fuji"
From the project "My Life as a Japanese Story"
2010
Watercolor, chocolate, gold sheet, acrylic on paper
185 X 114 cm
***
"My Life as a Japanese Story"
During a six months residency in Japan (from January to July 2010) I carried out a project entitled My Life as a Japanese Story, a kind of autofiction in which real experiences of my stay mingle with imaginary interpretations while referring to Japanese tradition, to manga (Japanese comic strips) to Japanese painting and literature. It consists of a series of large drawings made of watercolor, chocolate and gold sheet in which I become the main character of a Japanese fiction, such as a manga heroine evolving in a fantasized and fantastic Japan.
"Izu Oshima's Mouth"
From the project "My Life as a Japanese Story"
2010
Watercolor, acrylic on paper.
185 X 114 cm
Photo: P. Litherland
***
"My Life as a Japanese Story"
During a six months residency in Japan I carried out a project entitled "My Life as a Japanese Story", a kind of autofiction in which real experiences of my stay mingle with imaginary interpretations while referring to Japanese tradition, to "manga" to Japanese painting and literature. It consists of a series of large drawings made of watercolor, chocolate and gold sheet in which I become the main character of a Japanese fiction, such as a manga heroine evolving in a fantasized and fantastic Japan.
"The Neon Glow from Kawabata"
From the project "My Life as a Japanese Story"
2010
Watercolor, acrylic on paper.
185 X 114 cm
Photo: P. Litherland
***
"My Life as a Japanese Story"
During a six months residency in Japan I carried out a project entitled "My Life as a Japanese Story", a kind of autofiction in which real experiences of my stay mingle with imaginary interpretations while referring to Japanese tradition, to "manga" to Japanese painting and literature. It consists of a series of large drawings made of watercolor, chocolate and gold sheet in which I become the main character of a Japanese fiction, such as a manga heroine evolving in a fantasized and fantastic Japan.
"Crossing Alaska"
From the project "My Life as a Japanese Story"
2010
Watercolor, acrylic on paper.
185 X 114 cm
Photo: P. Litherland
***
"My Life as a Japanese Story"
During a six months residency in Japan I carried out a project entitled "My Life as a Japanese Story", a kind of autofiction in which real experiences of my stay mingle with imaginary interpretations while referring to Japanese tradition, to "manga" to Japanese painting and literature. It consists of a series of large drawings made of watercolor, chocolate and gold sheet in which I become the main character of a Japanese fiction, such as a manga heroine evolving in a fantasized and fantastic Japan.
"I am the fisherman's wife (after Hokusai)"
From the project "My Life as a Japanese Story"
2010
Watercolor, acrylic on paper.
185 X 114 cm
Photo: P. Litherland
***
"My Life as a Japanese Story"
During a six months residency in Japan I carried out a project entitled "My Life as a Japanese Story", a kind of autofiction in which real experiences of my stay mingle with imaginary interpretations while referring to Japanese tradition, to "manga" to Japanese painting and literature. It consists of a series of large drawings made of watercolor, chocolate and gold sheet in which I become the main character of a Japanese fiction, such as a manga heroine evolving in a fantasized and fantastic Japan.
