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David Lafrance: Jours fastes et néfastes

November 6th, 2018 § 0 comments § permalink

Opening November 7 from 5 to 7 PM. Artist in attendance.

David Lafrance, Marée haute, 2018
Huile sur toile
Oil on canvas
182,9 x 228,6 cm (72” x 90”)

The Exhibition

 

David Lafrance’s latest paintings are an extension of his personal reflections on a landscape, and thus a society, in metamorphosis.

 

The artist delves into meteorological phenomena threatening our current era, both physically and psychically. The forecast is distressing and inescapable in Lafrance’s observations.

 

Amid representations of a nature in turbulence, each painting is punctuated by a contrasting window into an idyllic pastoral scene – postcards of an idealized past uninterrupted by climate change. Reminiscent of surrealist paintings from the 1930s, Lafrance’s aerial cognitive landscapes are populated by disembodied hands and arms, geometric and unstructured shapes and cartoonish faces that set the mood for the series. The sun is tired and wrinkled in “Un soleil de trop” (2018) and sleeping heads are metaphors for a dormant populace in “Sun Dog” (2018) and “Marée haute” (2018). Lafrance approaches the canvas with a sense of urgency, skilfully layering distinct forms of composition in a dynamic assemblage of painterly gestures.

 

 

About David Lafrance

 

David Lafrance (b. 1976) holds a Bachelor of Fine Arts from Concordia University in Montréal (2001) where he is currently completing his MFA. His work has been presented in numerous exhibitions and biennales in Canada, the US, and in France. Among his recent solo exhibitions are Maison de la culture Marie-Uguay (2018), Ceaac (2015), Strasbourg; Galerie Hugues Charbonneau (2014); L’Œil de Poisson (2014), Québec City; and the Musée régional de Rimouski (2012), which won the prize for “Best exhibition outside of Montréal” at the AGAC’s Gala des arts visuels. He recently participated in various group exhibitions, namely at the Musée d’art contemporain des Laurentides (2018), Musée des beaux-arts de Montréal (2015), l’Œil de Poisson (2015), Art Action Actuel, in Saint-Jean-sur-Richelieu (2013), and at the Centre d’art l’Écart, in Rouyn-Noranda (2013).

 

His work is part of several private and public collections, including the Musée national des beaux-arts du Québec (CPOA), the Bibliothèque nationale du Québec; the Leonard and Bina Ellen Art Gallery, Montréal; Lotto Québec; Hydro-Québec; and Mouvement Desjardins.

Situation #7 : David Lafrance : Forbidden Rendez-vous in the Ghost Wing

August 16th, 2017 § 0 comments § permalink

Entrance door: 6217 rue Henri-Julien

 

David Lafrance
Atelier rouge (série Peur de perdre)
2015
Huile sur panneau
Oil on panel
20 x 25,5 cm (8” x 10”)

David Lafrance is delighted to invite you to his studio in the ghost wing of 305 rue de Bellechasse on next Wednesday August 23, from 10 AM to 10 PM. As part of our summer program titled “8 situations: 8 artists”, this exceptional rendezvous will be an opportunity to revisit his artistic production and archives covering the last twenty years (1997-2017).

David Lafrance
Étude pour Atlas No 2
2014
Peinture à l’acrylique sur madrier de ferme sculpté
Acrylic paint on sculpted recycled wood
35.5 x 10 x 18 cm (14” x 4” x 7”)

An installation of works will pay tribute to his favourite workspace. Several paintings, drawings, engravings, aquarelles, sketches, studies and some never-before-seen works will be available for acquisition purposes. This meeting will also be an occasion for open discussions with key art milieu professionals in attendance (artists, photographers, gallerists). A not to be missed event that will unfold in a convivial ambiance, in the image of David Lafrance.

David Lafrance
Force
2003
Huile sur toile
Oil on canvas
198 x 259 cm (78” x 102”)

About David Lafrance

David Lafrance (b. 1976) holds a Bachelor of Fine Arts from Concordia University in Montréal (2001). His work has been presented in numerous exhibitions and biennales in Canada, the US, and in France. Among his recent solo exhibitions are Ceaac (2015), Strasbourg; Galerie Hugues Charbonneau (2014); L’Œil de Poisson (2014), Québec City; and the Musée régional de Rimouski (2012), which won the prize for “Best exhibition outside of Montréal” at the AGAC’s Gala des arts visuels. He recently participated in various group exhibitions, namely at the Musée des beaux-arts de Montréal (2015), l’Œil de Poisson (2015), Art Action Actuel, in Saint-Jean-sur-Richelieu (2013), and at the Centre d’art l’Écart, in Rouyn-Noranda (2013).

David Lafrance
M’as tu oublier 07
2003
Graphite sur papier
Graphite on paper
55,88 x 76,2 (22” x 30”)

His work is part of several private and public collections, including the Musée national des beaux-arts du Québec (CPOA), the Bibliothèque nationale du Québec; the Leonard and Bina Ellen Art Gallery, Montréal; Lotto Québec; Hydro-Québec; and Movement Desjardins; Blakes; and Apollo Studios.

David Lafrance
Les sinistrés
2011
Huile sur toile
Oil on canvas
107 x 122 cm (42” x 48”)

David Lafrance
En ordre d’apparition 01
2016
Huile sur toile
Oil on canvas
122 x 102 cm (48” x 40”)

Spaces for Agency — Recomposer la ville

January 12th, 2017 § 0 comments § permalink

Isabelle Hayeur

Maria Hupfield

David Lafrance

Alain Paiement

Recomposer la ville / Spaces for Agency, 2017 Isabelle Hayeur, Maria Hupfield, David Lafrance, Alain Paiement Vue d'exposition Installation view

Recomposer la ville / Spaces for Agency, 2017
Isabelle Hayeur, Maria Hupfield, David Lafrance, Alain Paiement
Vue d’exposition
Installation view

Recomposer la ville / Spaces for Agency, 2017 Isabelle Hayeur, Maria Hupfield, David Lafrance, Alain Paiement Vue d'exposition Installation view

Recomposer la ville / Spaces for Agency, 2017
Isabelle Hayeur, Maria Hupfield, David Lafrance, Alain Paiement
Vue d’exposition
Installation view

Galerie Hugues Charbonneau is delighted to launch the year 2017 with a group show bringing together Isabelle Hayeur, Maria Hupfield, David Lafrance and Alain Paiement. Recomposer la ville / Spaces for Agency sets out to question notions of the “public” and “collective” in urban space. The exhibition is an invitation to reflect in a critical and different perspective on the celebrations being held as part of Montreal’s 375th anniversary.

Isabelle Hayeur Day Trading (série Nuits américaines), 2006 Jet d’encre sur papier polyester, monté sur aluminium avec traitement UV Ink jet prin on polyester mounted on aluminium with UV traitement Édition 5/5 109 x 165 cm (43

Isabelle Hayeur
Day Trading (série Nuits américaines), 2006
Jet d’encre sur papier polyester, monté sur aluminium avec traitement UV
Ink jet prin on polyester mounted on aluminium with UV traitement
Édition 5/5
109 x 165 cm (43″ x 65″)

Isabelle Hayeur, Pulse, 2015 Vidéo HD, couleur, stéréo Video, HD, color, stereo Édition 3 3 minutes

Isabelle Hayeur,
Pulse, 2015
Vidéo HD, couleur, stéréo
Video, HD, color, stereo
Édition 3
3 minutes

While not exclusive to our city, the questions we raise touch on: inhabiting city space and urban territory; established authorities; citizen resistance and engagement strategies; issues of peaceful coexistence — or its possibility in certain current political contexts. The works are presented along two mainlines in which, on one hand, the artists reimagine the topography of the city, and on the other, they explore ways of culturally and socially re-appropriating one’s environment. These mainlines which overlap in the gallery perhaps make it possible to glimpse the political potential that the works and places of art can signify in their immediate communities.

Maria Hupfield Survival and Other Acts of Defiance, 2011 Installation video et ruban adhésif en aluminium au sol en forme de

Maria Hupfield
Survival and Other Acts of Defiance, 2011
Installation video et ruban adhésif en aluminium au sol en forme de “X”
Video installation with silver “X” on floor made of aluminium tape
Édition 3
2,4 x 1,2 x 1,2 x m (8’ x 4’ x 4’)

Isabelle Hayeuris proposing two composite works. The photograph Day Trading (2006) shows the construction site of a building with an ambiguous function, which is in fact artificial because it is entirely the result of a digital manipulation. The video Pulse (2015), which is inspired by the student strike of the spring of 2015 in Montreal and the social struggles surrounding it, brings together a myriad of images found or filmed by the artist, who herewith denounces neoliberal austerity measures and erosion of political liberties. For her part, Maria Hupfield presents the video Survival and Other Acts of Defiance (2011) in which she is shown jumping on the spot, in a loop, and thus infinitely. Reinforced by the sound of tin jingles worn on her boots, she strongly affirms her presence as an indigenous woman who is constantly (re)negotiating her environment. On the floor, a large metallic X invites visitors to join in with her.

David Lafrance Place publique 1, 2015-2016 Bois et peinture acrylique Wood and acrylic paint 13 x 20 x 23 cm (5’’x 8’’ x 9’’)

David Lafrance
Place publique 1, 2015-2016
Bois et peinture acrylique
Wood and acrylic paint
13 x 20 x 23 cm (5’’x 8’’ x 9’’)

David Lafrance Place publique 4, 2015-2016 Bois et peinture acrylique Wood and acrylic paint  15 x 20 x 33 cm (6’’x 8’’ x 13’’)

David Lafrance
Place publique 4, 2015-2016
Bois et peinture acrylique
Wood and acrylic paint
15 x 20 x 33 cm (6’’x 8’’ x 13’’)

David Lafrance is presenting sculptures in multi-coloured wood that form part of the series Places publiques (2016). These imaginary city planning projects suggest a grandness and a dazzle that are paradoxically troubled by drab splashes or the affixing of disproportionate botanical sketches on their surface. Finally, Alain Paiement brings us a new large-scale photographic work,Voisinage contextuel (2016), in which he disregards the functional side of the Montreal city map and reduces the macro to the micro. He suspends the practical relationship to city space to instead recompose it in dialogue with the humans who collectively inhabit and animate it on a daily basis.

Alain Paiement Voisinage contextuel, 2016 Impression numérique sur papier coton archive Digital print on archival cotton paper Image : 142 x 213 cm (55,9” x 83,9”)  Papier_paper : 152 x 223 cm (60” x 88”)

Alain Paiement
Voisinage contextuel, 2016
Impression numérique sur papier coton archive
Digital print on archival cotton paper
Image : 142 x 213 cm (55,9” x 83,9”)
Papier_paper : 152 x 223 cm (60” x 88”)

A Comfortable Indifference: Benoit Aquin, Cynthia Girard-Renard, Isabelle Hayeur et David Lafrance

June 1st, 2016 § 0 comments § permalink

Benoit Aquin Genghis Khan, Mongolie (série Le Dust Bowl chinois) Genghis Khan, Mongolia (The Chinese Dust Bowl), 2006 Impression numérique à pigments de qualité archive Archival pigment print Éd. 5 : 61 x 91 cm (24

Benoit Aquin
Genghis Khan, Mongolie (série Le Dust Bowl chinois)
Genghis Khan, Mongolia (The Chinese Dust Bowl), 2006
Impression numérique à pigments de qualité archive
Archival pigment print
Éd. 5 : 61 x 91 cm (24″ x 36”)
Éd. 7 : 81 x 122 cm (32″ x 48″)

A Comfortable Indifference 

For its summer exhibition, Galerie Hugues Charbonneau presents a selection of works that highlight the challenging conciliation between the capitalist system and the environmental movement.

Clearly, time is running out while the acceleration of global warming endangers human populations, threatens biodiversity and causes extreme weather events. Denial is no longer an option. And yet, the unrestrained quest for economic growth and our current dependence on fossil fuels compromises our efforts to limit the increase in global temperatures and the decarbonisation of the economy. A shift toward united and sustainable principles must be taken on a global, local and individual level.

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)

In the gallery, Benoit Aquin invites us to confront two human-made environmental disasters. First, his celebrated project, The Chinese “Dust Bowl” (2006-2009), portrays the desertification of the former Silk Road in Inner Mongolia, while his series, Mégantic (2013), documents the worst land-based oil spill to date in North America – now emblematic of the careless management surrounding the hydrocarbon lobby. For her part, Cynthia Girard-Renard presents a large painting from her project Unicorns and Dictators (2014), first exhibited at the Esker Foundation in Calgary. The work features a hybrid character reminiscent of a trickster, with smoke-belching factories for ears. He is surrounded by anxious rabbits inquiring about the future, while greenish clouds inscribed with words like, ‘NATURE’, ‘PROFIT’, and ‘CAPITAL’, drift overhead.

Isabelle Hayeur Écume d'étang (série Underworld), 2015 Édition 5 127 x 91 cm (50

Isabelle Hayeur
Écume d’étang (série Underworld), 2015
Édition 5
127 x 91 cm (50″ x 36″)

Isabelle Hayeur takes us elsewhere entirely – underwater – with her multi-year project Underworlds (2008-2015), documenting aquatic scenes of completely impaired ecosystems. This unusual vantage point effectively portrays the degradation of various bodies of water through urbanisation and massive industrialisation. Finally, David Lafrance’s series titled Earthships (2015), depicts the self-sustaining dwellings of the same name, juxtaposing these with miniature bucolic scenes and schematic or abstract interpretations of the homes’ energy efficient systems. Lafrance invites us to reflect on this fantasized green paradise, which sits diametrically opposed to our hyper-consumption and our technological dependence.

David Lafrance Earthship 07, 2015 Huile sur panneau Oil on panel 15 x 20 cm (6

David Lafrance
Earthship 07, 2015
Huile sur panneau
Oil on panel
15 x 20 cm (6″ x 8″)

The title of this exhibition was inspired by Josée Blanchette’s article “La confortable inconscience”, published in Le Devoir on February 26, 2016.

David Lafrance: Summer 2014

July 17th, 2014 § 0 comments § permalink

David Lafrance Rebutoir 2014 Huile sur toile Oil on Canvas 122 x 152 cm (48” x 60”)

David Lafrance
Rebutoir
2014
Huile sur toile
Oil on canvas
122 x 152 cm (48” x 60”)

The exhibition

Galerie Hugues Charbonneau presents a solo exhibition of works by Montreal artist David Lafrance. Observational drawings from the Montérégie region are shown alongside paintings created subsequently in his studio. These cognitive representations of the countryside stem from deep introspection, and evoke the memory of place and the current dynamics that inhabit it.

The large canvases on display often suggest landscapes, and benefit from the artist’s vast visual repertoire, simultaneously encompassing folk art imagery, pastoral scenes created through the subtle layering of glazes, maps sketched in freehand, and expressive impasto techniques.

Among the depicted scenes, symbols from popular culture become cultural clues in themselves. Folk art objects or modern relics inscribed within these turbulent landscapes offer a glimpse into our industrialized society’s relationship with nature. Indeed, the troubling yet seductive environments created by the artist through the amalgamation of anachronistic objects become cathartic tools to express life’s paradoxical impulses. These dichotomies, where symbolically charged objects cohabit in natural, yet unidentifiable spaces, trigger a narrative discourse that foregrounds the complex relationship modern humans have with their environment. Nature and civilisation meet in Lafrance’s creative work, allowing us to revisit our preconceived notions of reality.

David Lafrance St-Philippe 2014 Fusain sur papier Charcoal on paper 38 x 53 cm (15” x 21”)

David Lafrance
St-Philippe
2014
Fusain sur papier
Charcoal on paper
38 x 53 cm (15” x 21”)

Artist’s statement

Painter, sculptor and sound installation artist, Lafrance creates unique works where an exalted natural world unfolds and merges with elements of human life. Through the creation of Edenic landscapes, Lafrance explores his own psyche and awakens his sensitive spirit to test the limits of expressionism. Within the artist’s practice, where basic subjectivity is laid bare, expressiveness is used to explore human cognitive reflexes and reveal specific points of view. By doing so, the artist uses art’s expressivity to confer critical value upon it. Indeed, Lafrance’s enigmatic work generally revolves around dissenting themes such as escapist pursuits, industrialization, nature, or individual and collective identity.

David Lafrance Un atelier à la campagne 2014 Huile sur toile Oil on canvas 183 x 274 cm (72” x 108”)

David Lafrance
Un atelier à la campagne
2014
Huile sur toile
Oil on canvas
183 x 274 cm (72” x 108”)

David Lafrance 20 000 ans 2014 Huile sur toile Oil on canvas 122 x 152 cm (48” x 60”)

David Lafrance
20 000 ans
2014
Huile sur toile
Oil on canvas
122 x 152 cm (48” x 60”)

David Lafrance La vie après 2014 Huile sur toile Oil on canvas 102 x 114 cm (40” x 45”)

David Lafrance
La vie après
2014
Huile sur toile
Oil on canvas
102 x 114 cm (40” x 45”)

David Lafrance Usine 05 2014 Huile sur toile Oil on canvas 38 x 58 cm (15” x 23”)

David Lafrance
Usine 05
2014
Huile sur toile
Oil on canvas
38 x 58 cm (15” x 23”)

David Lafrance Usine 08 2014 Huile sur toile Oil on canvas 31 x 41 cm (12” x 16”)

David Lafrance
Usine 08
2014
Huile sur toile
Oil on canvas
31 x 41 cm (12” x 16”)

David-Lafrance-Ete2014-0

Lafrance-Ete2014-1

David-Lafrance-Ete2014-2

ECHO 2: Against the Grain of History

May 24th, 2014 § 0 comments § permalink

Écho 2, 2014, Galerie Hugues Charbonneau, Montréal

Écho 2, 2014, Galerie Hugues Charbonneau, Montréal

Trevor Gould, installation, Écho 2, 2014, Galerie Hugues Charbonneau, Montréal

Trevor Gould, installation, Écho 2, 2014, Galerie Hugues Charbonneau, Montréal

Maria Hupfield, installation, 2014, Écho 2, Galerie Hugues Charbonneau, Montréal

Maria Hupfield, installation, 2014, Écho 2, Galerie Hugues Charbonneau, Montréal

Karen Tam, Chinese Fever, 2014, installation, Écho 2, Galerie Hugues Charbonneau, Montréal

Karen Tam, Chinese Fever, 2014, installation, Écho 2, Galerie Hugues Charbonneau, Montréal

Benoit Aquin Carnaval VIII, Jacmel (Haïti) 2011 Impression numérique à pigments qualité archive Archival pigment print Éd. 7, 32″ x 48″ Éd. 5, 40″ x 60″

Benoit Aquin
Carnaval VIII, Jacmel (Haïti)
2011
Impression numérique à pigments qualité archive
Archival pigment print
Éd. 7, 32″ x 48″
Éd. 5, 40″ x 60″

Trevor Gould The Man who Walked Over the Moon 2008 Aquarelle Watercolour 41 x 31 cm (16

Trevor Gould
The Man who Walked Over the Moon
2008
Aquarelle
Watercolour
41 x 31 cm (16″ x 12,25″)

Trevor Gould Heritage, 2014 Aquarelle Watercolour 51 x 36 cm (20” x 14 ¼”)

Trevor Gould
Heritage, 2014
Aquarelle
Watercolour
51 x 36 cm (20” x 14 ¼”)

Trevor Gould Echo 1, 2014 Aquarelle Watercolour 23 x 30 cm (9” x 12”)

Trevor Gould
Echo 1, 2014
Aquarelle
Watercolour
23 x 30 cm (9” x 12”)

Maria Hupfield Step (Plural Positions series #14) 2014 Épreuve numérique de niveau archive, feutre et médium acrylique Archival inkjet print, felt and acrylic medium 28 x 22 cm (11

Maria Hupfield
Step (Plural Positions series #14)
2014
Épreuve numérique de niveau archive, feutre et médium acrylique
Archival inkjet print, felt and acrylic medium
28 x 22 cm (11″ x 8,5″)
Éd. unique

Maria Hupfield Seven (Plural Positions series #13) 2014 Feutre et fil de coton Felt and cotton tread 28 x 22 cm (11

Maria Hupfield
Seven (Plural Positions series #13)
2014
Feutre et fil de coton
Felt and cotton tread
28 x 22 cm (11″ x 8,5″)
Éd. unique

Maria Hupfield Universal Parallels 2014 Feutre, fil à coudre Felt, sowing tread 30 x 31 x 39 cm (12” x 12 ¼” x 15 ½”) Éd. unique

Maria Hupfield
Universal Parallels
2014
Feutre, fil à coudre
Felt, sowing tread
30 x 31 x 39 cm (12” x 12 ¼” x 15 ½”)
Éd. unique

David Lafrance Video poker 2014 Huile sur toile Oil on canvas 203 x 183 cm (80

David Lafrance
Video poker
2014
Huile sur toile
Oil on canvas
203 x 183 cm (80″ x 72″)
(Photo : Éliane Excoffier)

David Lafrance Nuit d'élections 2014 Acrylique sur papier Acrylic on paper 76 x 56 cm (30

David Lafrance
Nuit d’élections
2014
Acrylique sur papier
Acrylic on paper
76 x 56 cm (30″ x 22″)

Karen Tam I May Flirt a Little, but I'm no Yellow Peril 2009 Tissu en vinyl doré Gold vinyl fabric 90 x 40,5 cm (35,5

Karen Tam
I May Flirt a Little, but I’m no Yellow Peril
2009
Tissu en vinyl doré
Gold vinyl fabric
90 x 40,5 cm (35,5″ x 16″)
Éd. 5

Karen Tam The New Old Comet—A Phenomenon Now Visible 2006 Papier doré découpé Gold paper-cutout 13 x 68 cm (5.12

Karen Tam
The New Old Comet—A Phenomenon Now Visible
2006
Papier doré découpé
Gold paper-cutout
13 x 68 cm (5.12″ x 26.77″)
Éd. 4

Karen Tam  Do you mind if I smoke? 2008 Tissu en vinyl doré Gold vinyl fabric 30 x 30 cm (11.81

Karen Tam
Do you mind if I smoke?
2008
Tissu en vinyl doré
Gold vinyl fabric
30 x 30 cm (11.81″ x 11.81″)
Éd.: 5

Karen Tam  Peeping Tom 2008 Papier doré découpé Gold paper-cutout 43 x 61 cm (24

Karen Tam
Peeping Tom
2008
Papier doré découpé
Gold paper-cutout
43 x 61 cm (24″ x 16.93″)
Éd. : 5

The artist Karen Tam would like to acknowledge the support of the Canada Council for the Arts.

CCFA_RGB_colour_f

Art Toronto 2013: Booth #1214

October 17th, 2013 § 0 comments § permalink

Metro Toronto Convention Centre

Benoit Aquin, La motocyclette, Mongolie Intérieure (Le Dust Bowl chinois), 2006, impression digitale, digital print, éd 5/7, 32

Benoit Aquin, La motocyclette, Mongolie Intérieure (Le Dust Bowl chinois), 2006, impression digitale, digital print, éd 5/7, 32″ x 48″

Marie-Claude Bouthilier, Mégalithe 06, 2013, carbone et acrylique sur toile, carbon and acrylic on canvas, 60

Marie-Claude Bouthilier, Mégalithe 06, 2013, carbone et acrylique sur toile, carbon and acrylic on canvas, 60″ x 48″

 Tammi Campbell, What You See Is What You See (after Stella 01), 2013, acrylic sur carton musée, acrylic on museum board, 40


Tammi Campbell, What You See Is What You See (after Stella 01), 2013, acrylic sur carton musée, acrylic on museum board, 40″ x 56″

Trevor Gould, Philosophies Self Image (in the style of Gabriel von Max), aquarelle, watercolor, 24

Trevor Gould, Philosophies Self Image (in the style of Gabriel von Max), aquarelle, watercolor, 24″ x 18″ ch/ea

Alain Paiement, Cadran, 2013, Impression numérique sur dibond, Digital print on dibond, éd 5, image: 30'' x 30'', papier: 35'' x 35'' (ch/ea)

Alain Paiement, Cadran, 2013, Impression numérique sur dibond, Digital print on dibond, éd 5, image: 30” x 30”, papier: 35” x 35” (ch/ea)

Jean-Benoît Pouliot, Sans titre 2013g, 2013,  acrylique sur toile, acrylic on canva, 48

Jean-Benoît Pouliot, Sans titre 2013g, 2013, acrylique sur toile, acrylic on canva, 48″ x 36″

Séripop, Sans Titre (Deux Têtes Noires), 2011-2012, sérigraphie sur papier, silkscreen on paper, éd 25, 18

Séripop, Sans Titre (Deux Têtes Noires), 2011-2012, sérigraphie sur papier, silkscreen on paper, éd 25, 18″ x 23,5″

̀ve K. Tremblay Study for Dancing Books (Triumph Over The Fear of Collapse -­‐ Spine #3, 4 and 6), 2011 c­‐print, edition of 5, 15

̀Ève K. Tremblay
Study for Dancing Books (Triumph Over The Fear of Collapse -­‐ Spine #3, 4 and 6), 2011
c­‐print, edition of 5, 15″ x 15″ each

Julie Trudel, Croisements (T123F123M), 2013, acrylique sur contreplaqué, acrylic on panel, 32

Julie Trudel, Croisements (T123F123M), 2013, acrylique sur contreplaqué, acrylic on panel, 32″ x 40″

> WEBSITE OF THE FAIR

Foire Papier 13

April 26th, 2013 § Comments Off on Foire Papier 13 § permalink

Du 26 au 28 avril 2013
(soirée d’ouverture VIP le jeudi 25 avril)
À l’angle des rues De Bleury et Sainte-Catherine
www.papiermontreal.com

Benoit Aquin, La motocyclette, Mongolie Intérieure (Le Dust Bowl chinois), 2006, impression digitale, digital print, éd 7, 32

Benoit Aquin, La motocyclette, Mongolie Intérieure (Le Dust Bowl chinois), 2006, impression digitale, digital print, éd 7, 32″ x 48″ (+ éd 5, 40″ x 60″)

Marie-Claude Bouthillier, Grand bleu «mcb», 2003,  encaustique et encre sur papier, encaustic and ink on paper, 98 1/2

Marie-Claude Bouthillier, Grand bleu «mcb», 2003, encaustique et encre sur papier, encaustic and ink on paper, 98 1/2″ x 48″

Tammi Campbell, from Circle Tape series (april 2012 B), 2012, acrylique sur carton musée, acrylic on museum board, 38

Tammi Campbell, from Circle Tape series (april 2012 B), 2012, acrylique sur carton musée, acrylic on museum board, 38″ x 32″

Michael Flomen, Genesis 6, 2009, photogramme unique, unique photogram, 24

Michael Flomen, Genesis 6, 2009, photogramme unique, unique photogram, 24″ x 20″

Trevor Gould, God's Window (diptyque), 2012, aquarelle et chrome sur papier, watercolor and chrome on paper, 20

Trevor Gould, God’s Window (diptyque), 2012, aquarelle et chrome sur papier, watercolor and chrome on paper, 20″ x 14″ ch/ea

David Lafrance, Concert en plein air 04, 2012, crayon et encre sur papier, pencil and ink on paper, 11

David Lafrance, Concert en plein air 04, 2012, crayon et encre sur papier, pencil and ink on paper, 11″ x 15″

Alain Paiement, Doubles lunes, (stéréoscopies asynchrones), 2012 épreuve digitale sur papier hahnemüller photo rag baryta monté sur alupanel digital print on hahnemüller photo rag baryta paper mounted on alupanel, éd 5, 18

Alain Paiement, Doubles lunes, (stéréoscopies asynchrones), 2012 épreuve digitale sur papier hahnemüller photo rag baryta monté sur alupanel digital print on hahnemüller photo rag baryta paper mounted on alupanel, éd 5, 18″ x 18″

Joyce Pensato, Porky (from the Wanted series), 2003, peinture émail sur papier, enamel paint on paper, 17

Joyce Pensato, Porky (from the Wanted series), 2003, peinture émail sur papier, enamel paint on paper, 17″ x 14 1/4″

Jean-Benoit Pouliot, Sans titre (scaccato) 2013, acrylique et crayon sur papier mylar, acrylic and pencil on mylar paper, 50

Jean-Benoit Pouliot, Sans titre (scaccato) 2013, acrylique et crayon sur papier mylar, acrylic and pencil on mylar paper, 50″ x 36″

Séripop, Sans titre (Deux têtes noires), 2011-2012, sérigraphie sur papier, silkscreen on paper, éd 25, 18

Séripop, Sans titre (Deux têtes noires), 2011-2012, sérigraphie sur papier, silkscreen on paper, éd 25, 18″ x 23,5″

Ève K. Tremblay,

Ève K. Tremblay, “Études pour Dancing Books (Triumph Over The Fear of Collapse – Spine #2), 2011, érpeuve chromogène, c-print, éd 5, 15″ x 15”

Trevor Gould, David Lafrance, Alain Paiement

April 13th, 2013 § Comments Off on Trevor Gould, David Lafrance, Alain Paiement § permalink

Installation : Trevor Gould, David Lafrance, Alain Paiement, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Installation : Trevor Gould, David Lafrance, Alain Paiement, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Trevor Gould, David Lafrance, Alain Paiement, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Trevor Gould, David Lafrance, Alain Paiement, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

David Lafrance, Plan, huile sur toile, 2013, 70

David Lafrance, Plan, huile sur toile, 2013, 70″ x 56″

David Lafrance, Pas de voisins, 2013, huile sur toile, oil on canvas, 18

David Lafrance, Pas de voisins, 2013, huile sur toile, oil on canvas, 18″ x 24″

Trevor Gould, David Lafrance, Alain Paiement, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Trevor Gould, David Lafrance, Alain Paiement, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Trevor Gould, God's Window I (détail), 2012, aquarelle et chrome sur papier, watercolor and chrome on paper, 20

Trevor Gould, God’s Window I (détail), 2012, aquarelle et chrome sur papier, watercolor and chrome on paper, 20″ x 14″

Trevor Gould, God's Window (détail IV), 2012, aquarelle et chrome sur papier, watercolor and chrome on paper, 20

Trevor Gould, God’s Window (détail IV), 2012, aquarelle et chrome sur papier, watercolor and chrome on paper, 20″ x 14″

Alain Paiement, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Alain Paiement, Galerie Hugues Charbonneau, 2013 (photo : Éliane Excoffier)

Alain Paiement, Doubles lunes, (stéréoscopies asynchrones), 2012 épreuve digitale sur papier hahnemüller photo rag baryta monté sur alupanel digital print on hahnemüller photo rag baryta paper mounted on alupanel, éd 5, 18

Alain Paiement, Doubles lunes, (stéréoscopies asynchrones), 2012 épreuve digitale sur papier hahnemüller photo rag baryta monté sur alupanel digital print on hahnemüller photo rag baryta paper mounted on alupanel, éd 5, 18″ x 18″

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