Amir Atouani travaille avec le médium photographique, il emploie une approche documentaire tout en laissant une atmosphère poétique s’y installer. Partant d’un narration personnelle et d’une vision multiculturelle, l’exploration photographique qu’il entame permet de décortiquer la simplicité et la complexité qui réside dans les nombreux langages présents dans son travail.
Naît et grandit à Montréal, Amir Atouani se concentre sur les thèmes de la mémoire, de la communauté, de l'héritage culturel, de l'appartenance, du langage et du temps.
Charlotte G Ghomeshi is a visual artist who works with the mediums of photography, video and sound. Her work combines these mediums to navigate psychological spaces through immersive installation. She works on conceptual projects, based on personal and emotional events.
Ghomeshi represents timeless moments by the use of static and repetitive video shots, and uses analogue techniques to reflect back to the photographic. The longevity and banality of the scenes filmed are used to reinforce the banality of everyday life presented in an unreal and absurd way. Additionally, she adds layers of sound to the immersive experience as it enhances the mood and imposes meaning to the image.
Rooting herself in the field of photography, Claude Labrèche-Lemay explores the possibilities of the medium within different fields, embracing a material approach. The liminal space occupied by the fixed image, between the two-dimensional representation and the tridimensional space depicted, enables an investigation within the field of installation and sculpture. Time and the perception of it have become central themes where instantaneity is juxtaposed to durability. Playing with accessibility, her installations incorporate a form of interaction, where it is possible to understand through touch, by the relationship between body and space. The concept of potentiality is studied; where two things are placed in balance in an intermediate state between presence and absence. A duality of states is suggested : one of the materials, one of the represented bodies.
À travers sa pratique artistique, Clothilde Allen cherche à créer un univers à l'intérieur duquel elle pourrait trouver sa place et, dans la foulée, réfléchir aux méandres de son identité. L'invention de mondes virtuels où tout est possible, où les erreurs et l'imperfection font figure d'oeuvre d'art, lui permet de se soustraire aux limites imposées par les espaces dits civilisés : des lieux striés, voire déshumanisé, dont les contours sont bornés par les limites de la science et de la métaphore, de la matière et des idées reçues. Se posant en rupture avec ces réalités du quotidien, ses photographies proposent une architecture parfois tranchante, parfois renversée, qui découpe l'image de manière quasi-abstraite. Les couleurs sont parfois éclatantes, voire même grossièrement saturée; à l'occasion, celles-ci peuvent également tendre vers la morosité monochrome, leur conférant ainsi le caractère maussade d'un jour de pluie. Cette oscillation constante entre la lumière et l'obscurité reflète l'ambivalence du regard qu'elle pose sur son environnement, puis les changements dans la façon dont elle s'imprègne des objets de contemplation.
Katarina Riopel is interested in the way in which imagery translates from on- screen and virtual space into tangible objects. Working through digital technologies, she allows herself to shift away from traditional photographic methods into fields of production influenced by design and painting. Her interests lie in exploring how colour, texture, and shape of the non-representational photographic imagery is perceived. The resulting images are often highly digitally manipulated to produce what she deems to be aesthetically desired content. Her work originates from screen-based technologies into space through the process of translating. To translate, in this context signifies the shift from one condition to another, and she does this by re-photographing printed images from her personal archive in order to explore the break down and re-introduce elements into the photographic image. This process includes reverting to analogue technologies to further investigate the application and practice of photography, which includes creating images and recording light.
LeDor is a photo-based artist whose work focuses on the roles and expectations of women in contemporary popular culture. The scenes and characters are based on life experiences of the artist and friends, people who navigate life as outcasts due to their sexuality and/or gender diversion. In their most recent series, Presumably Malevolent, popular cinema is targeted for its lack of representation of female villains. Despite lacking queer and female representation, popular cinema is a massive influence on youth and how they navigate the world. In this series LeDor’s images criticize the normative representation of women’s roles, and reject such definitions by presenting re-constructed queer archetypes; thus politicizing the construction of the female performance through portraiture.
Lucia Giron creates work through the mediums of photography and sculpture. Her work is driven by an impulse to create and exhaust, and her explorations are materialized through abstract visuals in which objects are often transformed and re-contextualized. She maintains an interest in phenomenology and photography as representation, dealing with imagery that explores a relationship with nature by simulating and constructing natural objects. As a process based photographer, her pieces often begin with raw materials and embrace the photographic action of the copy, mimicking an image and reconstructing it to explore the relationship between the natural and the artificial.
Madison Safran is a photographer who makes work targeting consumerist contexts. Her interests lay in the culture of consumerism, of the product, and how these two translate as photographs. Her suburban background influences her fascination to represent a form of social class through an exploration of material commodities. Her images function in the space between marketing, advertisement and fine art, while obscuring the anticipations of all three. Through the genres of portraiture, still-life and the photographic studio, she stages a constructed image of consumerism that is immediately recognizable, and utilizes the image as an exhibit of want.
Through photographs, Le Massi mediates what he calls the unique first encounter. He is driven by the idea of exoticism, a quality that imbues an object with intrinsic curiosity for the one who engages with it. He finds himself seeing those objects in a multiplicity of components ranging from human bonds, nature’s wonders and cultural novelty. His work puts in conjunction elements of poetry, travel and spontaneity. In doing so, he reframes the seductive qualities of wanderlust into the sublime fragility of photographic representation and beauty.
Accumulating images while walking in unfamiliar environments, Massi first places himself as the other. He lets empathy, self-awareness and hyper sensibility be his guides. The result reflects direct emotions felt with the subjective experience of the journey.
As he focuses on the power of the single image, he uses romantic aesthetics as a visual language. Tourism, social identities and the subliminal define his interests in the creation of narratives.
Le Massi's work reassesses preconceived societal beliefs, and deepens perceptions of the internal self. As an explorer of his own judgment, his investigations rely on both research and contingency, considering life as an unpredictable concept.
Matthew Kincaid Daly is a photographer whose work relies on disparate and ambiguous images. Informed by personal experiences of his past, his multidisciplinary approach explores the materiality of the photograph as it is tied to a hierarchy of of expectation and interpretation. Navigating the repetition of form through physical intervention, he occupies an informal position between the construction of memory and meaning within photographic images. By doing so, his practice maintains a space for the newly imagined, re-created iteration, and is a site for rumination of expectation, belief and the subjectivity of experience.
Pierre de Montalte is a Visual Artist whose work revolves around the theme of perception, how they define the way we construct reality, and the impact of the photographic on our interpretation and understanding of the world around us. In his work, he questions how reality is more than often built on the inherent subjectivity of observation, and challenges its relationship with truth and objectivity. He welcomes a deconstruction of the contemporary notion of reality as an absolute and offers a reconsideration of how an understanding of the real is influenced by personal beliefs and perceptions.
Raheleh Salim reconciles the duality of absence and presence within the lens of multiculturalism in her photographic practice. Her images represent the material sensibilities of her Persian cultural background and uses the means of storytelling as an exploration of the symbolic through pattern and color. In doing so, she articulates an inner experience that is mystical and tied to memory. She is interested in the seductive qualities that inform a material investigation of the photographic to enable a symbolic understanding of metaphors through decontextualized narrative and visual abstraction. She translates inner experience to visual representation and creates an anthology of written inner experience that could not be articulated through words. She narrates new stories in a liminal space through representation of deconstructed conventional patterns and symbols. Her work emphasises the material vision linked to memory, and attempt to produce a irreconcilable harmony of experience through the articulated images.
Rémi W Martel makes work that concerns the materiality of the photographic image. His technique involves deeply isolating elements of photographic method to playfully explore their potentiality. As a processed based artist, he likes to set his work against a background of theory that tests the limits of photographic truth. His work address color theory, the translation of the photographic medium in other forms, and the mediation of images between technologies. In doing so, Martel hopes to illicit a connection to vision through articulating a visual experience with an exploration of scale, light and colour.
Renaud Lafrenière lives and works in Montréal. His artistic practice is rooted in photography, its accumulative quality and its relation to the archive. Looking at things from a roaming and constantly re- considered point of view, he photographs in a semi-diaristic approach that leads into a malleable thinking of narratives and sequences. Although an intrinsic and obvious part of the work, the photograph takes strength and meaning in the way it is phrased amongst others of its kind. Lafrenière is interested in how images can transcend their own referent through the use of an intuitive photographic vision.
Removing the work from the narrative he hopes to create a visual language through symbolic and semiotic associations that makes the viewer question what is being looked at and why it matters.
The selection process, an important component of his practice, helps Lafrenière formulate the work through making the images interact amongst themselves, altering their nature, forcing them to communicate, constantly repositioning and reformalizing them.
The work speaks to the act of intuitive looking and is at times romantic, organic, formalist or completely autobiographic. Thus, the vision depicted in the work resembles a chaotic farrago of images where the relations drawn between them is tangible and at the core of their coexistence.
shield your eyes is a photographic project which aims to problematize the value of images and magnify the tension between in/accessibility. It is presented primarily as an oversized book, linking itself to both the family photo album and to zine culture. Printed photographs are presented traditionally as well, presented on the wall in various sizing. The images presented vary in printed method, using formats such as bitmapping and color halftones which further reference other media, such as screen printing.
The family photo album holds connotations of sentimentality, of personal attachment, and of familial bonds. My work toes the line of documentary work as well, presented intimate images from queer and punk subcultural spaces and milieus. The photo album presented is one of chosen familial connections, and creates an image basis of community bonds in this manner.
The collections of images hold personal attachment, and in presentation, allow access to my own formation of identity through a visual collection. By creating a visual landscape from snapshots and environmental portraiture, what is close to me both emotionally and physically becomes important through its magnification and proximity to an audience. This open invitation to private values opens a dialogue of access- to space, to people, to emotions.
The conflation of large scale enlargement of snapshot style images is meant to open the dialogue of the value of images. The addition of working in lower resolution formats, specifically that of bitmap and color halftone, both speaks of more readily accessible formats of print. This project draws heavily from zine culture, and formats of art that are accessible in nature by their necessary provisions. In essence, anyone with access to a photocopier in a library becomes an author. This kind of open access point is in stark contrast to the economy of image making in fine art contexts.
This book is presented in a physical manner in which to embody the thematics presented. Through printing the book at 36 x 36” per page, I am inciting the body the be involved in viewership. The implication of the viewer physically changes how the work is viewed and necessitates a certain level of involvement. There is a manner of “work” that must be done in order to view the images. Through using this scale, motions are slowed and the viewer will be invited into the image further by their physical proximity.
There is a certain coy intention to this size as well, and the nature of creating only one copy of the work. Although the book is presented as precious through its placement in exhibition, and through its sentimental nature, its enjoyment will only lead to its disintegration. Like a well loved book, I intend for the pages to turn, for the spine to weaken, and for the pages to crumple.