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Cynthia Girard-Renard

Cynthia Girard-Renard Les fleurs animales, 2017 Huile sur toile Oil on canvas 95 x 70 cm (37,4” x 27,6”) (photo : Guy L'Heureux)

Cynthia Girard-Renard
Les fleurs animales, 2017
Huile sur toile
Oil on canvas
95 x 70 cm (37,4” x 27,6”)
(photo : Guy L’Heureux)

Cynthia Girard-Renard No Foreigners (série Nos maîtres les fous / Our Insane Masters), 2016 Acrylique sur toile Acrylic on canvas 2,75 m x 1,80 m (9’ x 6’)

Cynthia Girard-Renard
No Foreigners (série Nos maîtres les fous / Our Insane Masters), 2016
Acrylique sur toile
Acrylic on canvas
2,75 m x 1,80 m (9’ x 6’)

Cynthia Girard-Renard Marie-Antoinette et serpent Sans-culotte (série Nos maîtres les fous / Our Insane Masters), 2016 Acrylique sur toile Acrylic on canvas 2,75 m x 1,80 m (9’ x 6’)

Cynthia Girard-Renard
Marie-Antoinette et serpent Sans-culotte (série Nos maîtres les fous / Our Insane Masters), 2016
Acrylique sur toile
Acrylic on canvas
2,75 m x 1,80 m (9’ x 6’)

Cynthia Girard-Renard, La revanche des Sans-culottes, 2016, exposition _ exhibition, Galerie Hugues Charbonneau, Montréal

Cynthia Girard-Renard, La revanche des Sans-culottes, 2016, exposition _ exhibition, Galerie Hugues Charbonneau, Montréal

Cynthia Girard-Renard Sous les pavés, la plage, 2015 Acrylique sur toile libre de coton Acrylic on unstretched cotton canvas 224 x 287 cm (88’’ 1/4 x 113’’)

Cynthia Girard-Renard
Sous les pavés, la plage, 2015
Acrylique sur toile libre de coton
Acrylic on unstretched cotton canvas
224 x 287 cm (88’’ 1/4 x 113’’)

Cynthia Girard-Renard Petit théâtre du grand capital, 2016 Techniques mixtes Mixed media 240 x 90 x 90 cm (94 1/2’’ x 35 1/2’’ x 35 1/2’’)

Cynthia Girard-Renard
Petit théâtre du grand capital, 2016
Techniques mixtes
Mixed media
240 x 90 x 90 cm (94 1/2’’ x 35 1/2’’ x 35 1/2’’)

Artist’s statement

Cynthia Girard-Renard has created a multitudinous universe where politics, identity and imaginary worlds come together through painting, sculpture, installation, poetry and performance. Her broad range of techniques encompass various forms and take an experimental and theatrical approach to the exhibition context, such as large format works, banners, scenic backdrops, costumes and accessories, mobiles, sound sculptures, support structures, etc.

In this way, Girard-Renard defies the traditional categories of art by dismantling the niches these mediums normally occupy and resisting any hierarchy of styles. Her uncompromising repertoire draws as much from the visual language of art history (monochromes, Minimalism, hard-edge, Op art, Realism, Pointillism, Surrealism, Dada, Art Brut) as it does from modes of expression from popular culture or the so-called “minor arts”, such as comics, children’s book illustrations, folk tales, decorative arts, feminine crafts, burlesque theatre, and satirical cartoons. Within these paintings, the effect is the creation of hybrid spaces where normally unrelated realities are now juxtaposed, even interpenetrated, located somewhere between the abstract and the figurative. These composite spaces end up confounding the viewer’s perceptions by multiplying different points of view, illusionist renderings, sharp perspectives, or distorted scale.

Onto these complex pictorial constructions, Girard-Renard affixes a polyphonic narrative where any temporal coherence is denied. The sources that inspire her themes and motifs are many: the history and territory of Québec, feminist issues, historical figures such as revolutionary leaders, dictators, scientists, philosophers or authors, political slogans, student and environmental protests, animals, insects and fantastical creatures. Moreover, Girard-Renard favours a naïve style, artificial representations and a vibrant and saturated palette that help to register these socio-cultural references in sharp contrast to their familiar political weight. The resulting detachment tends to suggest a kind of fertile incongruity in her work that generates a tension between form and content.

Girard-Renard’s free thematic associations open up poetic spaces of reflection where humour and urgency briefly intertwine. A variety of ideas are considered, such as the ecological future of the planet, the precariousness of national or gender identities, the absurdity of austerity measures and more. Girard-Renard thereby plays, with a hint of irony, on usual hierarchies by imagining timeless worlds where animals, unicorns and great historical figures meet within imaginary constructions to discuss the future, utopia and freedom.

Cynthia Girard-Renard La dernière licorne, 2014 Acrylique sur toile Acrylic on canvas 182 x 137 cm (71 1/2

Cynthia Girard-Renard
La dernière licorne, 2014
Acrylique sur toile
Acrylic on canvas
182 x 137 cm (71 1/2″ x 54″)
(Photo : Guy L’Heureux)

Cynthia Girard-Renard Décroissance/ Degrowth, 2014 Acrylique sur mousseline de coton Acrylic on muslin  397 x 300 cm (156 1/4

Cynthia Girard-Renard
Décroissance/ Degrowth, 2014
Acrylique sur mousseline de coton
Acrylic on muslin
397 x 300 cm (156 1/4″ x 118″)
(Photo : Guy L’Heureux)

Cynthia Girard-Renard Chenille, cocon, papillon, 2014 Papier mâché, photocopies, gouache et bois Papier mâché, photocopies, gouache and wood Esker Foundation, Calgary

Cynthia Girard-Renard
Chenille, cocon, papillon, 2014
Papier mâché, photocopies, gouache et bois
Papier mâché, photocopies, gouache and wood
Esker Foundation, Calgary

Cynthia Girard-Renard Fraternité, 2013 Acrylique sur lin Acrylic on linen 150 x 180 cm (59

Cynthia Girard-Renard
Fraternité, 2013
Acrylique sur lin
Acrylic on linen
150 x 180 cm (59″ x 70 3/4″)
(Photo : Guy L’Heureux)

Cynthia Girard-Renard Table III : 2 Ballounes, 2013, céramique et peinture acrylique, ceramic and acrylic paint, 29 x 33 x 20 cm La Force d’aimer, 2013, papier mâché, 20 x 14 x 3 cm God II, 2013, céramique, ceramic, 28 x 25 x 12 cm Matraque Ambivalente II, 2013, céramique, ceramic,  23,2 x 26 x 12 cm Parisian Laundry, Montréal Esker Fondation, Calgary (Photo : Guy L’Heureux)

Cynthia Girard-Renard
Table III :
2 Ballounes, 2013, céramique et peinture acrylique, ceramic and acrylic paint, 29 x 33 x 20 cm
La Force d’aimer, 2013, papier mâché, 20 x 14 x 3 cm
God II, 2013, céramique, ceramic, 28 x 25 x 12 cm
Matraque Ambivalente II, 2013, céramique, ceramic,
23,2 x 26 x 12 cm
Parisian Laundry, Montréal
Esker Fondation, Calgary
(Photo : Guy L’Heureux)

Biography

Cynthia Girard-Renard received her MFA from Goldsmiths College, London, UK (1998). For more than 20 years, she has been actively exhibiting in Canada and internationally, including: Thousand Plateaus Art Space, Chengdu, China (2011); Dunlop Art Gallery, Regina (2010); Musée national des beaux-arts du Québec, Québec (2010); September Gallery, Berlin (2009); Künstlerhaus Bethanien, Berlin (2009); SPACE, London (2006), not to mention her solo exhibition, Fictions sylvestres, at the Musée d’art contemporain de Montréal (2005) and her participation in the 2008 Quebec Triennial. Recently she has had solo exhibitions at the Uma Certa Falta de Coerencia, Porto, Portugal (2015) and the Esker Foundation, Calgary, Alberta (2014).

The artist has been the recipient of grants from the Canada Council for the Arts and the Conseil des arts et des lettres du Québec to partake in residencies in London, Paris, New York and Berlin. Girard-Renard’s work is found in the collections of the Musée d’art contemporain de Montréal, the Montreal Museum of Fine Arts, the Musée national des beaux-arts du Québec, the Canadian Ministry of Foreign Affairs, the Carleton University Art Gallery, the UQAM Gallery, the TD Bank as well as many private collections. Cynthia Girard-Renard is represented by Galerie Hugues Charbonneau in Montréal. The artist lives and works in Montréal.

Cynthia Girard-Renard Pierre Vallières + Josée Yvon (installation), 2012 Optica, Montréal

Cynthia Girard-Renard
Pierre Vallières + Josée Yvon (installation), 2012
Optica, Montréal

Cynthia Girard-Renard Pierre Vallières + Josée Yvon (installation), 2012 Optica, Montréal

Cynthia Girard-Renard
Pierre Vallières + Josée Yvon (installation), 2012
Optica, Montréal

Cynthia Girard-Renard Victoire sur la barricade, 2012 Acrylique sur toile Acrylic on canvas 215 x 411cm (84 1/2

Cynthia Girard-Renard
Victoire sur la barricade, 2012
Acrylique sur toile
Acrylic on canvas
215 x 411cm (84 1/2″ x 161 3/4″)

Cynthia Girard-Renard Le gant noir, 2010 Papier, chaise et ceinture Paper, chair and belt 330 x 90 x 40 cm (130

Cynthia Girard-Renard
Le gant noir, 2010
Papier, chaise et ceinture
Paper, chair and belt
330 x 90 x 40 cm (130″ x 35 1/2″ x 15 3/4″)
La Centrale/Powerhouse, Montréal

Cynthia Girard-Renard Tous les oiseaux sont ici (installation), 2009 Kunstlerhaus Bethanien, Berlin

Cynthia Girard-Renard
Tous les oiseaux sont ici (installation), 2009
Kunstlerhaus Bethanien, Berlin

Cynthia Girard-Renard Tous les oiseaux sont ici (performance), 2009 Kunstlerhaus Bethanien, Berlin

Cynthia Girard-Renard
Tous les oiseaux sont ici (performance), 2009
Kunstlerhaus Bethanien, Berlin