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Julie Trudel : Bone Black and Titanium White – Colour and Light

January 15th, 2019 § 0 comments § permalink

 

Julie Trudel, Noir d’ivoire et blanc de titane – couleur et lumière, 2019
Galerie Hugues Charbonneau, Montréal, Canada (photo : Jean-Michael Seminaro)

The Exhibition

For her third solo exhibition at the gallery, Julie Trudel presents a series of new tridimensional paintings, continuing her previous exploration of color in transparency. It was during a residency in Berlin in 2015 that she first discovered a model of fluorescent plexiglas of which the borders throw light. All while keeping the constraint she imposed on herself in 2012 to paint exclusively in black and white, it’s through the support that she has reintroduced primary colours into her work.

The geometric compositions of the paintings blend matter to light to show color. Veils of translucent acrylic paint subtly change the shade of the panels and their level of transparency. Trudel attains this result by means of a rigorous artisanal method, discovered through experimental trials on plastic. The support is successively cut, polished, assembled, painted and thermoformed to create folds at precise angles. Through these interventions, Trudel is able to liberate the Plexiglas of its semiotic boundaries heavily associated with industrial plasticity, to bring it into the pictorial field. The result generates a visual complexity that reflects our era of omnipresent screens.

Julie Trudel, Noir d’ivoire et blanc de titane – couleur et lumière, 2019
Galerie Hugues Charbonneau, Montréal, Canada (photo : Jean-Michael Seminaro)

Artist Statement

As an abstract painter, Julie Trudel engages with the properties of paint through simple work processes that take shape through the self-imposed limitations she establishes at the start of each new project. She positions herself within the realm of reflective and conceptual painting that focuses on the making of the painting and investigates painting itself. Her research goes beyond the question of painting as coloured matter; it extends to painting as a practice and as a discipline. Her works give new currency to traditional issues of abstract painting through works that seek to renew its technical aspects – as much through its medium and its support as through its hanging. 

About Julie Trudel

She holds a BA, a BFA and an MFA from UQAM and has exhibited across Canada, Europe and the United States including recent solo exhibition at NARS Foundation, Brooklyn (2018), the group exhibition Entangled: Two Views on Contemporary Canadian Painting at the Vancouver Art Gallery (2017) and The Painting Project at Galerie de l’UQAM (2013). In addition to being awarded numerous research and creation grants as well as artist residencies across Canada and abroad, Trudel was a two-time finalist in the RBC Canadian Painting Competition (2011, 2012), and winner of the Joseph Plaskett Award in painting (2013). She is a Professor at UQAM in Montreal, where she lives and work.

The artist would like to warmly thank l’École des arts visuels et médiatiques and the Faculté des arts of UQAM, the Canada Council for the Arts and the Joseph Plaskett Foundation for the financial support of this project. She would like to highlight the precious and tireless contribution of her skilful, intelligent and reliable studio assistant Éloïse Carrier. The technical support of David Allard Martin, Mario Baillargeon, Danny Glaude, Olivier Heaps-Drolet, Ianick Raymond and Jean Talbot were also essential to realizing this body of work.

Julie Trudel in artistic residency at the gallery

December 28th, 2018 § 0 comments § permalink

Julie Trudel will further explore the project exhibited last fall at the NARS Foundation in Brooklyn. Opening January 16.

Julie Trudel: Bone Black and Titanium White — Transparency and distortion

April 6th, 2016 § 0 comments § permalink

Julie Trudel Transparence et distorsion NNBN, 2015 Acrylique et gesso sur feuille acrylique Acrylic and gesso on acrylic sheet 117 x 59,5 x 35,5 cm (46

Julie Trudel
Transparence et distorsion NNBN, 2015
Acrylique et gesso sur feuille acrylique
Acrylic and gesso on acrylic sheet
117 x 59,5 x 35,5 cm (46″ x 23 1/2″ x 14″)
(Photo : Jordan Blackburn)

Galerie Hugues Charbonneau is pleased to present Julie Trudel’s second solo exhibition, featuring the latest development in her work with the materiality of colour. This series of approximately 10 three-dimensional paintings was created in 2015 during various artist residencies, and was presented in part at the Anna Leonowens Gallery at NSCAD University last fall.

Julie Trudel Transparence et distorsion NNBN, 2015 Acrylique et gesso sur feuille acrylique Acrylic and gesso on acrylic sheet 117 x 59,5 x 35,5 cm (46

Julie Trudel
Transparence et distorsion NNBN, 2015
Acrylique et gesso sur feuille acrylique
Acrylic and gesso on acrylic sheet
117 x 59,5 x 35,5 cm (46″ x 23 1/2″ x 14″)
(Photo : Jordan Blackburn)

With Bone Black and Titanium White—Transparency and Distortion, Julie Trudel continues to work with the self-imposed chromatic constraint she adopted in 2012, namely the use of pure black and white pigments which she simply dilutes in large amounts of clear acrylic medium. This time, however, she has innovated her approach by adding clear acrylic supports (also known as Plexiglas). Technical considerations at the end of 2014 led her to choose this material as a way to explore its material properties – transparency, reflection, reversibility and plasticity – in conjunction with her fascination for the translucence and opacity of paint. While experimenting with various types of plastics, light emerged as a central component and the paintings were subsequently pulled out from the wall to better enable the interplay of light and surface.

Julie Trudel Transparence et distorsion BNNN, 2015 Acrylique et gesso sur feuille acrylique Acrylic and gesso on acrylic sheet 117 x 59,5 x 35,5 cm (46

Julie Trudel
Transparence et distorsion BNNN, 2015
Acrylique et gesso sur feuille acrylique
Acrylic and gesso on acrylic sheet
117 x 59,5 x 35,5 cm (46″ x 23 1/2″ x 14″)
(Photo : Jordan Blackburn)

Each piece is created on a very thin sheet of Plexiglas painted on one side before being bent into three sections through thermoforming. Two sections are painted in flat black tints, giving them a mirror-like quality, or in white, which reflects light. The third section is clear and covered in a pattern of translucent dots that seem to break away from the surface, producing the illusion of movement and depth. The folding of the two panels on either side of the central one produces a complex interplay of reflections between the three sections, while the concave shape it creates captures light and multiplies the effect of transparency or distortion within the cluster of dots. Trudel’s choice of Plexiglas has evidently deepened her research into the materiality of colour and light, thereby opening new possibilities within the pictorial field. Moreover, their presentation in the gallery allows viewers to experience the near-sculptural nature of her paintings as they extend into the exhibition space, and to witness how dramatically their appearance shifts depending on the angle of view.

Julie Trudel Noir d'ivoire et blanc de titane -- transparence et distorsion, 2016 Vue d'exposition Exhibition view Galerie Hugues Charbonneau, Montréal, Canada

Julie Trudel
Noir d’ivoire et blanc de titane — transparence et distorsion, 2016
Vue d’exposition
Exhibition view
Galerie Hugues Charbonneau, Montréal, Canada

Julie Trudel

Over the past five years, her work has been presented in France, in Germany, Japan, United-States, and throughout Canada. Trudel was a two-time finalist in the RBC Canadian Painting Competition (2011, 2012), and winner of the Joseph Plaskett Award in painting (2013). Her work is included in several collections, including the Collection Prêt d’œuvres d’art of the Musée national des beaux-arts du Québec; the Ville de Montréal; RBC Bank and TD Bank. She lives and works in Montréal.

The artist would like to warmly thank the Joseph Plaskett Foundation, the Triangle Arts Association, NSCAD University and the Robert Pope Foundation, who supported the development of this new project. She would also like to acknowledge the contribution of her skilful and reliable studio assistants, Katie Lesser and Arkadi Lavoie Lachapelle, as well as Donald Thompson, Martin Schop and Atelier Clark, who helped resolve many technical challenges.

Julie Trudel Noir d'ivoire et blanc de titane -- transparence et distorsion, 2016 Vue d'exposition Exhibition view Galerie Hugues Charbonneau, Montréal, Canada

Julie Trudel
Noir d’ivoire et blanc de titane — transparence et distorsion, 2016
Vue d’exposition
Exhibition view
Galerie Hugues Charbonneau, Montréal, Canada

Écrans: Maryse Goudreau, Trevor Gould, Jean-Benoit Pouliot, Lucie Robert and Julie Trudel

June 26th, 2015 § 0 comments § permalink

Maryse Goudreau Manifestation pour la mémoire des quais (détail) 2011 Négatif de verre au collodion humide numérisé, Impression jet d’encre, papier baryté Digitaslised collodion glass negative, inkjet print  Ed. 5 2 comp. : 100 cm x 80 cm ch. | ea.

Maryse Goudreau
Manifestation pour la mémoire des quais (détail)
2011
Négatif de verre au collodion humide numérisé, Impression jet d’encre, papier baryté
Digitaslised collodion glass negative, inkjet print
Ed. 5
2 comp. : 100 cm x 80 cm ch. | ea.

Galerie Hugues Charbonneau opens the summer season with a group exhibition bringing together the work of gallery artists, Trevor Gould, Jean-Benoit Pouliot and Julie Trudel, as well as invited artists Maryse Goudreau and Lucie Robert. The works exhibited in Écrans all explore the concept of ‘the screen,’whether it be through pictoral, historical, physical or political means.

Trevor Gould To be titled 2015 Aquarelle Watercolour 61 x 46 cm (24’’ x 18’’)

Trevor Gould
To be titled
2015
Aquarelle
Watercolour
61 x 46 cm (24’’ x 18’’)

Screens provide a paradox – they are simultaneously capable of being both revealing and concealing. This duality which constructs and conditions our gaze, expresses the inevitable incompleteness of the images that surround us as they evoke what is left out and what underwrites them. The screen then becomes an aesthetic, political and philosophical device, that allows us to analyze and understand the world we live in. It mobilizes ideas around interpretation or fractured narratives as it nourishes a broader understanding of our relationship with the immaterial, the fleeting.

Jean-Benoit Pouliot Glissement No3 2015 Impression jet d’encre sur film rétro éclairage hp montée sur aluminium Inkjet print on backlit hp film mounted on aluminium Ed. 2

Jean-Benoit Pouliot
Glissement No3
2015
Impression jet d’encre sur film rétro éclairage hp montée sur aluminium
Inkjet print on backlit hp film mounted on aluminium
Ed. 2

A conduit for art straddling material and media, the screen can be understood as a physical or abstract support, but can also be seen as a historical and cultural construction, as a body-image norm-establishing weapon, as iconographic and conceptual foliation…Finally, the idea of the screen refers to a whole archeology of images and to a history of ideas.

Louise Robert Gestes noir sur blanc no.3 2014 Encre et fil cousu sur papier coton Ink and sewn wire on cotton paper  55 x 37 cm (21.5” x 14.5”)

Louise Robert
Gestes noir sur blanc no.3
2014
Encre et fil cousu sur papier coton
Ink and sewn wire on cotton paper
55 x 37 cm (21.5” x 14.5”)

Julie Trudel Chevauchements T123F123 2013 acrylique sur panneau acrylic on panel 19” x 24” (photo : Martin Désilets)

Julie Trudel
Chevauchements T123F123
2013
acrylique sur panneau
acrylic on panel
19” x 24”
(photo : Martin Désilets)

Julie Trudel Bifurcation NBN 2014 Gesso et acrylique sur MDF, marouflé sur contreplaqué  Gesso and acrylic on MDF mounted on plywood 60 x 74 cm (24” x 29”)

Julie Trudel
Bifurcation NBN
2014
Gesso et acrylique sur MDF, marouflé sur contreplaqué
Gesso and acrylic on MDF mounted on plywood
60 x 74 cm (24” x 29”)

ECHO I: Benoit Aquin, Tammi Campbell, Alain Paiement, Jonathan Plante, Jean-Benoit Pouliot, Séripop, Ève K. Tremblay and Julie Trudel

April 6th, 2014 § 0 comments § permalink

Écho 1, Galerie Hugues Charbonneau, Montréal (photo : Éliane Excoffier)

Écho 1, Galerie Hugues Charbonneau, Montréal (photo : Éliane Excoffier)

Écho 1, Galerie Hugues Charbonneau, Montréal (photo : Éliane Excoffier)

Écho 1, Galerie Hugues Charbonneau, Montréal (photo : Éliane Excoffier)

Écho 1, Galerie Hugues Charbonneau, Montréal (photo : Éliane Excoffier)

Écho 1, Galerie Hugues Charbonneau, Montréal (photo : Éliane Excoffier)

Alain Paiement Cadran 3, 2014 épreuve numérique aux pigments digital pigment print éd. 5,  image 30

Alain Paiement
Cadran 3, 2014
épreuve numérique aux pigments
digital pigment print
éd. 5,
image 30″ x 30″ (papier_paper 36″ x 36″)

Alain Paiement Cadran 2, 2014 épreuve numérique aux pigments digital pigment print éd. 5, image 30″ x 30″ (papier_paper 36″ x 36″)

Alain Paiement
Cadran 2, 2014
épreuve numérique aux pigments
digital pigment print
éd. 5,
image 30″ x 30″ (papier_paper 36″ x 36″)

Ève k. Tremblay, Clair Obscur dans l'atelier de mon père #2 (prisme et rideau de douche), 2013, épreuve numérique, archival digital print, 20

Ève k. Tremblay, Clair Obscur dans l’atelier de mon père #2 (prisme et rideau de douche), 2013, épreuve numérique, archival digital print, 20″ x 14″, Ed 5 +2AP (+ Ed 5 + 2AP, 50″ x 33″)

Ève K. Tremblay Clair Obscur dans l'atelier de mon père #2 (prisme sur vase), 1996 (imprimé_printed 2013) épreuve numérique archival digital print 20

Ève K. Tremblay
Clair Obscur dans l’atelier de mon père #2 (prisme sur vase), 1996 (imprimé_printed 2013)
épreuve numérique
archival digital print
20″ x 14″, Ed 5 +2AP
(+ 50″ x 33″, Ed 5 + 2AP)

Jean-Benoit Pouliot, Sans titre, 2014 acrylic sur toile acrylic on canvas 67

Jean-Benoit Pouliot, Sans titre, 2014
acrylic sur toile
acrylic on canvas
67″ x 52″

Jonathan Plante Volonté, accident et désir, 2013  peinture acrylique sur plastique lenticulaire acrylic paint on lenticular plastic 36 ½” x 23 ¾” (93 x 60 cm)

Jonathan Plante
Volonté, accident et désir, 2013
peinture acrylique sur plastique lenticulaire
acrylic paint on lenticular plastic
36 ½” x 23 ¾” (93 x 60 cm)

Julie Trudel Déploiement BNN 2014 Gesso et acrylique sur MDF, marouflé sur contreplaqué  Gesso and acrylic on MDF mounted on plywood 60 x 74 cm (24” x 29”)

Julie Trudel
Déploiement BNN
2014
gesso et acrylique sur MDF, marouflé sur contreplaqué
gesso and acrylic on MDF mounted on plywood
60 x 74 cm (24” x 29”)

Benoit Aquin Lac-Mégantic, 2013 impression numérique à pigments qualité archive  archival pigment print Éd. 7,  32

Benoit Aquin
Lac-Mégantic, 2013
impression numérique à pigments qualité archive
archival pigment print
Éd. 7, 32″ x 48″
Éd. 5, 40″ x 60″

Tammi Campbell, What You See Is What You See (After Stella), 2014 acrylique sur carton musée,  acrylic on museum board  121.92 x 121.92 cm (48” x 48”)

Tammi Campbell, What You See Is What You See (After Stella), 2014
acrylique sur carton musée,
acrylic on museum board
121.92 x 121.92 cm (48” x 48”)

Tammi Campbell, Paper series, 2014 acrylique sur carton musée acrylic on museum board 39 x 33 cm (15.5” x 13”)

Tammi Campbell, Paper series, 2014
acrylique sur carton musée
acrylic on museum board
39 x 33 cm (15.5” x 13”)

Séripop (Chloe Lum and Yannick Desranleau) Riffed an Utterance, 2014 Papier sérigraphié, caoutchouc, palettes, MDF, Formica, Tyvek, polyéthylène Screenprinted paper, rubber, palettes, MDF, Formica, Tyvek, polyethylene Dimensions variables _ Variable dimensions  777 x 226 x 81 cm (306” x 89” x 32”)

Séripop (Chloe Lum and Yannick Desranleau)
Riffed an Utterance, 2014
Papier sérigraphié, caoutchouc, palettes, MDF, Formica, Tyvek, polyéthylène
Screenprinted paper, rubber, palettes, MDF, Formica, Tyvek, polyethylene
Dimensions variables _ Variable dimensions
777 x 226 x 81 cm (306” x 89” x 32”)

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

Julie Trudel winner 2013 Joseph Plaskett Award

July 20th, 2013 § 0 comments § permalink

Announcement by The Joseph Plaskett Foundation
July 19, 2013The 2013 Joseph Plaskett Award Winner is Julie Trudel of Montreal


photo: Jean-Christophe Lett                                                                                       photo: Guy L’heureux

The Joseph Plaskett Foundation is pleased to announce that Julie Trudel has been selected as the winner of the $25,000 Joseph Plaskett Award for this year.

In the tenth year of this Award for an outstanding painter to work in Europe, the Plaskett Foundation wishes to congratulate Julie Trudel who received her MFA from University of Quebec at Montréal (UQAM) in 2012. We wish to also thank the expertise of this year’s Jury which was based in Vancouver with senior artist’s Renée Van Halm, Robert Youds and Ben Reeves, in a process coordinated by Landon Mackenzie on behalf of the Foundation and the RCA.

The jury writes: “Julie Trudel was chosen for her intense and innovative approach to abstraction in painting. In her painting she investigates mechanical colour reproduction systems that she manually applies to variously shaped panels. This results in highly evocative and illusionistic surfaces that remind one of weavings or microscopic photography.”

Julie Trudel was formally presented with her Award at the Joseph Plaskett Reception on Saturday June 8, 2013 at the Empress Hotel in Victoria at the Annual General Assembly of the Royal Canadian Academy of Arts now in its 133rd year. She plans to use her award to base herself for a year in Berlin, in 2014. Her work is represented by Galerie Hugues Charbonneau in Montreal.

Artworks by Julie Trudel are currently on display in the exhibition “Point, line, plane, point, line, plane, point, line, plane” until August 8th at Galerie Hugues Charbonneau.

point, line, plane, point, line, plane, point, line, plane

June 27th, 2013 § 1 comment § permalink

Pouliot - Point ligne plan - photo Eliane Excoffier

Jean-Benoit Pouliot, installation Point, ligne, plan, point, ligne, plan, point, ligne, plan (photo Eliane Excoffier)

Marie-Claude Bouthillier, installation Point, ligne, plan, point, ligne, plan, point, ligne, plan (photo Eliane Excoffier)

Marie-Claude Bouthillier, installation Point, ligne, plan, point, ligne, plan, point, ligne, plan (photo Eliane Excoffier)

Julie Trudel & Tammi Cambell, installation Point, ligne, plan, point, ligne, plan, point, ligne, plan (photo Eliane Excoffier)

Julie Trudel & Tammi Cambell, installation Point, ligne, plan, point, ligne, plan, point, ligne, plan (photo Eliane Excoffier)

Tammi Campbell, installation Point, ligne, plan, point, ligne, plan, point, ligne, plan (photo Eliane Excoffier)

Tammi Campbell, installation Point, ligne, plan, point, ligne, plan, point, ligne, plan (photo Eliane Excoffier)

Jean-Benoit Pouliot, Sans titre (2013d), 2013, acrylique sur toile, acrylic on canvas, 67

Jean-Benoit Pouliot, Sans titre (2013d), 2013, acrylique sur toile, acrylic on canvas, 67″ x 52″

Jean-Benoit Pouliot, Sans titre (2013b), 2013, acrylique sur toile, acrylic on canvas, 20

Jean-Benoit Pouliot, Sans titre (2013b), 2013, acrylique sur toile, acrylic on canvas, 20″ x 16″

Jean-Benoît Pouliot, Sans titre (2013e), 2013, acrylique sur toile, acrylic on canvas, 67

Jean-Benoît Pouliot, Sans titre (2013e), 2013, acrylique sur toile, acrylic on canvas, 67″ x 52″

Marie-Claude Bouthillier, Familles (hannah02), 2012, acrylique sur toile, acrylic on canvas, 16.5

Marie-Claude Bouthillier, Familles (hannah02), 2012, acrylique sur toile, acrylic on canvas, 16.5″ x 16.5″

Marie-Claude Bouthillier, Familles (hannah04),  2012, acrylique sur toile, acrylic on canvas, 16

Marie-Claude Bouthillier, Familles (hannah04), 2012, acrylique sur toile, acrylic on canvas, 16″ x 16″

Marie-Claude Bouthillier, Familles (hannah03),  2012, acrylique sur toile, acrylic on canvas, 16

Marie-Claude Bouthillier, Familles (hannah03), 2012, acrylique sur toile, acrylic on canvas, 16″ x 16″

Julie Trudel, Étude 5A, du projet CMYK, 2011, acrylique et encre de sérigraphie sur contreplaqué, acrylique and silkscreen ink on plywood, diam. 29

Julie Trudel, Étude 5A, du projet CMYK, 2011, acrylique et encre de sérigraphie sur contreplaqué, acrylique and silkscreen ink on plywood, diam. 29″ (74 cm)

Julie Trudel, EllipseCMCYCK (2011-18), 2011,  acrylique et encre de sérigraphie sur contreplaqué, acrylique and silkscreen ink on plywood, 18

Julie Trudel, EllipseCMCYCK (2011-18), 2011, acrylique et encre de sérigraphie sur contreplaqué, acrylique and silkscreen ink on plywood, 18″ x 29″

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

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

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″

Tammi Campbell, Dear Agnes (004), 2011, graphite sur papier japonais Kozo plié, graphite on folded Kozo Japanese paper, 11” x 8 ½”

Tammi Campbell, Dear Agnes (004), 2011, graphite sur papier japonais Kozo plié, graphite on folded Kozo Japanese paper, 11” x 8 ½”

Tammi Campbell, Dear Agnes (006), 2011, graphite sur papier japonais Kozo plié, graphite on folded Kozo Japanese paper, 11” x 8 ½”

Tammi Campbell, Dear Agnes (006), 2011, graphite sur papier japonais Kozo plié, graphite on folded Kozo Japanese paper, 11” x 8 ½”

Tammi Campbell, Dear Agnes (030), 2012, graphite sur papier japonais Kozo plié, graphite on folded Kozo Japanese paper, 11” x 8 ½”

Tammi Campbell, Dear Agnes (030), 2012, graphite sur papier japonais Kozo plié, graphite on folded Kozo Japanese paper, 11” x 8 ½”

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