2022 programming
Archives
Hélène Latulippe
From Tuesday November 30 to Saturday February 5, 2022
Opening on Saturday December 4 from 2 p.m.
Inspired by the writings of Joan Gibbons and Marcel Proust, my work investigates the way our emotive memory functions and changes our perception of the world. Hunting down remnants of recollections, I reshape and reorganize them to bring an emotion to the surface with which the viewer can identify.
Responding to my own attraction to materials and my love for leaving marks, I mold my vocabulary after a simple shape, a solid colour and a process based on the repetition of gesture. I wish to create a poetic and universal work.
* Joan Gibbons, Contemporary Art and Memory, I. B. Tauris, 2007, p3
Jean-Michel Cropsal
From Tuesday October 26 to Saturday November 27, 2021
Opening on Saturday October 30 from 2 p.m. to 5 p.m.
The prints and collages in this exhibition were created in 2020 and 2021. They are an attempt at establishing a dialogue between ancient and contemporary calligraphies from the Aramaic, the Hieroglyphics, the Arab and Berber calligraphy to the applique work of the Kuba people of Congo. A commitment to this land and the people who inhabit it.
Jean Michel Cropsal was born in Morocco and there he spent his childhood. In France he studied and works for the theatre: sets and costumes. He came to Canada in 1975 and continues his work for the theatre and dance. He also designed and made clothes. Throughout these years he continuously drew, painted and engraved. He held solo exhibitions and participated in group events in various places and numerous galleries in Canada, Morocco and France. For 20 years, he has been a member of the Atelier Circulaire.
Joséphine Bacon and Terry Randy Awashish
From Tuesday October 12 to Saturday October 23, 2021
Launch on Wednesday October 13 at 5:30 p.m.
ARTIST'S BOOK
MISHTIKᵘ - L’ARBRE - THE TREE
Joséphine Bacon is an Innu poet, writer and director. She was born in Pessamit, Quebec. She is the author of several bilingual poetry books, written in Innu-Aimun and French, all published by Mémoire d’encrier. She was a finalist to the Governor General’s Literary Award and won the Prix des libraires du Québec in 2019, for her book Uiesh/Quelque part.
Atikamekw Nehirowisiw of the Opitciwan community, Terry Randy Awashish is a multidisciplinary artist and a graphic designer. He works primarily as an illustrator, conceiving posters and visual identities. He is also interested in everything related to fine art print. In April 2017, Terry was awarded the Manitou-Kiuna Prize by the Kiuna Institute and the First Nations Education Council. In 2019, he completed his Bachelor’s degree in graphic design at UQAM’s Design School.
© Benoit Rochon
E/AB Fair
From Monday October 18 to Thursday October 21, 2021.
Atelier-Galerie A.Piroir is pleased to participate in Editions / Artists' Books Fair online only.
website link E/AB fair,
IFPDA Fine art print fair
From Friday October 15 to Sunday November 31, 2021
We are pleased to be part of the IFPDA Fine Art Print Fair, an exclusive online event. The link to our booth will be available soon.
FOR MORE INFORMATION VISIT THE IFPDA WEBSITE
Volume 2
Saturday 2 and Sunday 3 October 2021
Atelier-Galerie A. Piroir is pleased to participate in Volume 4 Mlt.
For more information visit the website of volume 4 Mlt
Marcelo Troche
From Tuesday September 7 to Saturday October 9, 2021.
FLOR DE PIEL
Photo-etchings put into words by Émilio Troche
Images and words about fragility. The fragility which has tainted the months spent in confinement, far from nothing and everything, alone with oneself, far from the loved ones. The poems are an ode to the soul’s frailness, to the despair in the face of a world in distress. A troubling and intimist gaze offered wholeheartedly to the universe.
The technic of reproduction – traditional photoetching – gives another meaning to the images, to their tenderness and vulnerability. It is as if the photos, transferred almost violently on the paper, make us travel from pain to gentleness.
………
Born in Montevideo, Uruguay in 1971, Marcelo lived in Madrid and Grenoble before his family settled in Montreal, Canada. Now, he spends his time between Montréal and Mérida, Yucatan in Mexico where he has his own photography sanctuary.
After completing his photographic degree at Cegep du Vieux Montréal, he was recruited by one of the best black and white photographic laboratory, where he developed a great interest for black and white photography and the lab technics. His creativity and talent led him to explore advertising and editorial photography, transiting from film to digital photography, but without ever losing his passion for lab and black and white photography.
In 2015, Marcelo went studying tintype in New York and started to master the technic while continuing his career in advertising.
Two years ago, in 2017, a cerebral vasculitis brutally hit Marcelo. After a long hospitalization, many treatment attempts and long convalescence, he had to mourn his professional career. But that resume in Marcelo to dedicate his time to what he really loves about photography: tintype. He found in this technic a way to celebrate the beauty in what seems to repel at first sight.
MEL BOYANER IN COLLABORATION WITH BIECTR
From Tuesday August 10 to Friday September 3, 2021
Mel Boyaner (1924/2020) did his studies in Montreal and in London, at the Regent Street Polytechnic School of Art, where he was granted a scholarship in lithography. After teaching in London for a few years, he came back to Montreal in 1969 to teach at UQAM, where he stayed happily until his retirement. He was one of the founding members of the Atelier circulaire. His work was shown to the public in various exhibitions, both individual and collective. He remained enthusiastic towards the arts right until the end! Many of his colleagues, students and friends remember his joie de vivre, his communicative smile and his openness towards others.
Jo Ann Lanneville
From Tuesday June 1 to Saturday July 10, 2021
Jo Ann Lanneville has travelled widely and has seen many landscapes. She closes her eyes to see them again more clearly. She shifts around, mixes, combines and recreates the images before finally entrusting them to the canvas. Her lively and precise brushstrokes invent a Garden of Eden that she invites us to explore. We are presented with illustrated plates of a fantastical botanical encyclopaedia. Both unusual and familiar forms emerge to inhabit the nearby space and they surround and move us; at first we find them troubling, but later they inspire calm and peace. We feel safe and wander within a vegetal world, at once dreamlike, magical and eccentric. The colours are warm, rich and bright. And even though they are unknown to us, the flowers, trees and fruit that Jo Ann has imagined are recognizable. The pollen of multi-coloured souls is released from giant flowers waving in the wind; trees suddenly burst into flames, scorching our desires in their red-shot glow; fruit leap from constellations to storms. We wake up enchanted and wait for dawn.
As a counterpoint to this richly coloured turmoil, Jo Ann offers us a series of prints of landscape-images, more intimate and fragile, similar to a herbarium of the past. The prints meticulously reveal details of a vibrant and exciting world, details arising from ephemeral impressions gleaned from her more or less far-flung travels: twigs, petals, pistils, wild grasses, rocks, stars - an inventory of a natural world, at once comforting and rebellious, tenacious and delicate, ephemeral and eternal. These mental images are the fruit of realities intensely experienced by a sensitive and generous artist, who ultimately invites us to go through the looking-glass and enter a monumental black, grey and white garden that we may colour as we wish.
Alan Speller, Historian of Art
Erika Adams, Isabelle Fleurelien and Stephanie Russ
From Tuesday April 13 to Saturday May 22, 2021
Artists Erika Adams, Isabelle Fleurelien and Stephanie Russ visually explore ideas around the St. Lawrence River in Montreal. Their research highlights personal connections and a naturalist’s desire to understand with an eye on environmental impacts due to climate change. The mixed media print works, artist books, video and laser cut woodblocks explore the river from their different perspectives.
IFPDA Fine art print fair
From Friday May 14 to Friday May 28, 2021.
We are pleased to be part of the IFPDA Fine Art Print Fair, an exclusive online event. The link to our booth will be available soon.
FOR MORE INFORMATION VISIT THE IFPDA WEBSITE
ARLIS/NA
From Wednesday May 11 to Thursday May 13 2021.
Atelier-Galerie A.Piroir is pleased to participate to the Annual Conference of the Art Libraries Society of North America (ARLIS/NA) in Montreal. The Conference will be held online only.
ARLIS/NA ORGANIZER'S WEBSITE
ROLANDE PELLETIER
Du mardi 2 mars au samedi 3 avril 2021
Diplômée de l’École Nationale Supérieure des Arts Décoratifs de Paris, France en 1972 et de l’Institut des Arts appliqués de Montréal, en 1967, Rolande Pelletier a enseigné les arts visuels pendant plus de 30 ans dans les Cegep tout en continuant à peindre, dessiner, faire de la gravure et exposer à chaque fois que cela était possible. Elle a quitté l’enseignement en 2005. Depuis elle se consacre à temps plein à la pratique de l’art. Membre active de l’atelier Circulaire depuis 2006, elle y a intensifié ses recherches avec le bois gravé et d’autres techniques de l’estampe.
Dans son travail elle s’intéresse en particulier aux éléments du langage visuel et les innombrables possibilités qu’ils offrent. Un questionnement sur les processus d’élaboration des œuvres en particuliers la répétition que ce soit répétition du geste ou de formes dans une même œuvre ou d’une œuvre à l’autre nourrit son travail.
Ces œuvres font partie de collections privées au Canada et en France. Dans les collections publiques, ces gravures ont été acquises par la ville de Montréal ; la Banque Nationale du Canada ; le Kyoto International Woodprint Association, Kiwa , Japon ; Banque d’œuvre d’art du Canada ; Bibliothèque Nationale du Canada, et Bibliothèque Nationale du Québec. Par le biais de livres d’artistes collectifs, ces estampes sont au Musée Laurier, Victoriaville ; Musée de Baie Saint- Paul ; Musée de Saint Jérôme.
En solo elle présente son travail depuis 1984. Récemment elle a exposé à la Galerie des membres de l’Atelier Circulaire, local 517, en 2018 ; à la Galerie Circulaire, local 105, en 2016 ; au Musée d’art contemporain de Baie Saint-Paul en 2014 ; à la Maison de la Culture Rosemont- la-Petite-Patrie en 2013 ; au Centre d’exposition de Repentigny en 2012 ; au Carrefour culturel Paul Médéric, Baie Saint-Paul en 2010 ; à la Galerie des membres de l’Atelier Circulaire en 2009, etc.
En groupe, elle a participé à un très grand nombre d’expositions en peinture, dessin et gravure depuis le début des années 70. Les plus récentes sont : Hommage à Katia Makdisi Warren, Maison de la culture Ahuntsic et musée de l’Oratoire, 2019-2020; Changement comme seule certitude, Atelier-galerie Alain Piroir, 2019 ;Triennale de gravure en taille-douce de Lisle sur Tarn, Fr, 2018; Exposition Divers Cité, au Musée des maître et artisans du Québec, Mtl, 2018; 70/70 dans les trace de Dumoucuel, 2018, Québec; Exposition hommage à José Évangéliste, Maison de la culture Côte des Neiges, Mtl, 2018; BIMPE X, 2018-19, présentée dans quatre lieux différents en B.C et Alberta.
Yannick De Serre
From Tuesday November 3 to Saturday December 19, 2020
Vernissage from Saturday 7 to Sunday 8 November from 2 p.m. to 6 p.m.
PROSERPINA
Since the dawn of time, mythologies have shaped our world with collective founding narratives. Among these legendary stories, Yannick De Serre has chosen to revive the myth of Persephone/Proserpine, because it explains in mythical-poetic form the origin of the seasons, placing the mother-daughter relationship at the heart of a complex equation. With the exhibition Proserpina, the artist presents works that are both powerful and subtle, whose narration continually superimposes the paradox of absence and presence.
What happened to Persephone/Proserpine? The only child of Demeter/Ceres, the goddess of the harvest and grain, Persephone was kidnapped by her uncle Hades/Pluto, king of the underworld, who made her his wife. While the young woman was kept prisoner, her mother pursued a relentless quest to find her. During the nine days of her search, Demeter ceased her activities, dangerously slowing the cycle of nature. To avoid endangering humanity, Zeus asked Hades to release his wife. He consented, knowing that, having eaten pomegranate seeds, she would have no other choice but to return to hell. When the young woman reunited with her mother, it was a time of joy and renewal, marking the arrival of spring and then summer. Their separation introduced the arrival of autumn, followed by winter. This back-and-forth between the underworld and the earthly world marked the passing seasons, accompanied by its inevitable share of constant heartbreak and of sadness.
With a great deal of sensitivity, Yannick De Serre conveys the suffering of separation, notably in the works Relation ou je n’étais qu’un enfant (Relative or I Was Only a Child) and Maman. To create the first, several letters from personal correspondence have been used. Immersed in water, the letters softened, then disintegrated. The words were erased, letting the original material – the essence of things – reveal itself in immaculate white. After a period of drying and compression, the paper still maintained the vulnerability of the material, as attested by the word FRAGILE notched in the centre of the work, which also echoes the fragility of the connection. Farther on, we read “Tu me manques” (I miss you) in the open book entitled Maman, also suggesting the weight of distance. Holding the other back, letting him go, then losing him . . . that is what we see in Proserpina 2, Bouquet 2 and Bouquet 17. Hands drawn in graphite hold between their fingers bouquets of flowers embossed on the paper. The imprint left on the fibrous skin conserves the trace of a bittersweet new beginning: absence succeeds presence, and vice-versa. With Bouquet 9, another type of cycle appears: a flower spurting out of black but fertile soil opens up, then wilts until it returns to the earth. From life to death. From death to life. Isn’t that what one of the poems in the Sans titre series brings to life? “Perséphone / Perce et flore/ Perte à mort” (Persephone / Pierce and flora / Loss to death). Torn between the father and the mother, the question of connection leads to that of origins in another poem taken from the Sans titre series: “Mother /I came to you/ je sème/je cueille/j’abonde/Et je quitte/Father/I failed you.” The features that make up the connection between the father and the mother also draw the roots of the rhizome connecting the underground to the earthly world. Whereas the apparent fragility of some roots is destabilizing, the undeniable solidity of others fascinates. Between strength and vulnerability, the unavoidable connections that shape individuals and construct us collectively are in constant motion. And so goes the cycle of life!
Emilie Granjon
Art historian.
Yannick de Serre website
E/AB Fair
From Thursday, October 14 to Sunday, October 28, 2020
Atelier-Galerie A.Piroir is pleased to participate in Editions / Artists' Books Fair, an exclusive online event. The link to our booth will be available soon.
FOR MORE INFORMATION VISIT THE E/AB WEBSITE
IFPDA Fine art print fair
From Wednesday October 7 to Friday November 6, 2020
We are pleased to be part of the IFPDA Fine Art Print Fair, an exclusive online event. The link to our booth will be available soon.
FOR MORE INFORMATION VISIT THE IFPDA WEBSITE
Volume 3
Saturday October 3, 2020
Atelier-Galerie A.Piroir is pleased to participate in Volume 3 Mlt, an exclusive online event. The link to our booth will be available soon.
For more information visit the website of volume 3 Mlt
les journées de la culture
From September 25 to October 25, 2020
There are no translations available
L’Atelier-Galerie A.Piroir est un espace de travail et d’exposition dédié à l’art imprimé. Les présentations, démonstrations et ateliers d’expérimentation seront faits par les maîtres imprimeur Alain et Agathe Piroir. Nous commencerons par établir quelques repères historiques de l’estampe en présentant nos différentes presses ainsi que les différentes techniques qui s’y rattachent : gravure en creux, typographie, bois, lithographie. Ensuite, nous allons vous faire une démonstration de ces techniques. Vous pourrez mettre la main à la pâte en participant à un petit atelier.
Nous vous demandons de réserver à l’avance de votre venue, notre papier 100% coton dois être mouillé 24h à l’avance.
FOR MORE INFORMATION VISIT les journées de la culture WEBSITE
Amalia De Lorenzi - BIECTR
From Tuesday September 8 to Saturday October 24, 2020
Opening Saturday 12 and Sunday 13 September from 2 p.m. to 6 p.m.
IN THE PRESENCE OF THE WALLONIA-BRUSSELS GENERAL DELEGATE IN QUEBEC, MRS. SHARON WEINBLUM, ON SATURDAY SEPTEMBER 12.
REFRESHMENTS WILL BE COMPLIMENTS OF THE QUEBEC WALLIONA-BRUSELLES DELEGATION.
ARTEFACT / ARTIFACT
I like slow processes and the reflection that arises when my hand meets the materials and I work with the tools.
In my journey as an artist, creating textiles and simply moulding were means I explored before I came in contact with the printed image.
Therefore, in my printmaking process, I naturally pay special attention to the support on which the ink rests (fine Japanese paper, butcher paper, plastic film, or felt and craft felt).
Over time, the assembly process has become increasingly important in my work. Printing is only the start: the beginning of the work in progress and not its outcome.
I like to seek, experiment and let myself be surprised by connecting elements, forms and materials. Sometimes, the sensual attraction to a texture comes first. Sometimes, inversely, the need to accurately express my goals guides me, but it can happen all at once, with a magically exhilarating “synchronicity.”
These games and various maneuvers also allow me to let go and allow fate to play a role at the beginning of a process in which I know very quickly that my need for precision and mastery will inevitably emerge.
While the organic aspect of the world resonates with me and fascinates me, today the paradoxes, scars and wounds (sources of tensions) that I find there assert themselves in my artistic work.
Trying to establish a balance between antagonistic elements is my way of confronting the chaos: that is where my incomprehension lies and I endeavour to imbue it with meaning.
Scan III, 2015, linocut on felt and synthetic plaster, 30 x 40 x 4 cm, photo credit Nathalie Noël.
IFPDA Fine art print fair
From Wednesday May 13 to Saturday June 13, 2020
We are pleased to be part of the IFPDA Fine Art Print Fair --- an exclusive online event in partnership with Artsy. You will find our booth there. Here is the VIP link .
