Calgary's Contemporary Art Gallery
My work is imagined around the notion of human structure as emotional investigation space. I create a transfer between body, self and the other, between the others and finally the environment. The materiality of the work is retained but its inherent rhythm dissolves, its image crumbles. The canvass gradually exhibits textures reminiscent ofsculpting; the notion of painting fades away to let through traces of transition, bursts of light clinging to the surface. I hush the noise of colours. Transparencies shroud the space and blur the vision, forcing the mind to abandon sensory expectations. For instance, timid yet often impertinent whites sweep through the canvass, obscuring all no-tions of time, all references to space. Remains only the imagining, the impression of amaybe.
Time ephemeris, gathering of temporal segments; the present is not depicted in mywork. Only the past, and mostly the future, matter. The present is not represented any-more and merely exists at the birth of the work, therefore rapidly becoming bygone. Time loses its grip, its momentum; it collapses. From what seems as a wandering of thought or a pointless representation arises the necessity to find points of reference. In these material universes of traces, I represent in a troubling way things and beings in aspace of suspended identity. In this play of emulsions, what reveals it self as an assembly of fragile and hesitant shapes is in fact a concrete image confronted to none otherthan its own imprint or, in other words, to an out-of-sight out-of-mind attitude to wards a close forgotten relative.
A “mise-en-abime” or deep divide of time, a temporal structure collapse to prompt imperative thought on the part of the viewer, this is what I invest in my artistic design. The work’s image or object transforms itself and opens up to new meaning. The end resultsare impressions, a sense of “déjà-vu” suggested in the painting.
Spaces and characters transgress the formal reality of perceptions and define new per-ceptive stakes.
Therefore, the image’s immateriality, its regression towards the informal, seeks to pushtowards the revelation of its meaning in a way that eases the encounter between artistand viewer. In my creative process, the work’s aspect does not veil the interpretation. The subject asserts it self, and its undefined shapes adjoin the space to grasp infinity. Born in Saguenay-Lac St-Jean, Marie-France Boisvert capitalizes more thantwenty years of experience as a painterand a sculptress. In 1997, she obtained abachelor in Design from Laval Universityin Quebec City and in 2004, she completed another bachelor in Interdisciplinary sculpture at the University of Quebec inChicoutimi. Finally, in 2008, she confirmed her artistic approach with a master's degree in Creation from the same university. Now working in Montreal, Marie-France Boisvert continues with the same enthusiasm to accumulate awards, mentions and peer recognition with exhibits in Canada, the United States and Europe.
Latitude Art Gallery