{"id":15661,"date":"2023-04-05T08:00:44","date_gmt":"2023-04-05T12:00:44","guid":{"rendered":"https:\/\/foreman.ubishops.ca\/?p=15661"},"modified":"2023-11-21T11:53:22","modified_gmt":"2023-11-21T16:53:22","slug":"we-become-singular-exposition-virtuelle","status":"publish","type":"post","link":"https:\/\/foreman.ubishops.ca\/fr\/we-become-singular-exposition-virtuelle\/","title":{"rendered":"we become singular. | Exposition des finissant\u00b7e\u00b7s en beaux-arts de l\u2019Universit\u00e9 Bishop\u2019s 2023 | Exposition Virtuelle"},"content":{"rendered":"

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Au sens premier du cycle comme une s\u00e9quence p\u00e9riodique de ph\u00e9nom\u00e8nes, nos existences sont constitu\u00e9es d\u2019innombrables cycles, rapides et lents, \u00e0 la fois concurrents et successifs. Si la cyclicit\u00e9 implique la r\u00e9p\u00e9tition, elle n\u2019exclut pas la nouveaut\u00e9 ni le changement \u2013 bien au contraire. Dans la nature, les cycles se renouvellent sans cesse tandis que le vivant \u00e9volue. De chaque cycle na\u00eet le suivant, dissemblable \u00e0 celui qui l\u2019a engendr\u00e9 d\u2019une mani\u00e8re aussi infime que d\u00e9terminante. La r\u00e9currence des cycles du Soleil et de la Lune ne nous emp\u00eache pas de porter les yeux au ciel dans une contemplation candide. <\/span><\/p>\n

Les neuf \u00e9tudiant\u00b7es finissant\u00b7es r\u00e9uni\u00b7es \u00e0 la Galerie d\u2019art Foreman en ce printemps 2023 sont engag\u00e9\u00b7es dans une telle d\u00e9marche cyclique o\u00f9 une forme de r\u00e9trospective proc\u00e8de vraiment, paradoxalement, d\u2019un \u00e9lan vers l\u2019avant, comme les r\u00e9volutions d\u2019une roue autour de son axe permettent le d\u00e9placement : dans chacun de leurs projets s\u2019exprime le d\u00e9sir de revisiter un th\u00e8me, un \u00e9tat, un lieu connu, mais depuis une perspective renouvel\u00e9e, fa\u00e7onn\u00e9e par les exp\u00e9riences et les apprentissages des derni\u00e8res ann\u00e9es, dans l\u2019espoir d\u2019y pratiquer d\u2019autres ouvertures, conduisant \u00e0 d\u2019autres lieux, d\u2019autres mani\u00e8res d\u2019\u00eatre au monde. <\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Souple et polys\u00e9mique, le cycle offre donc plusieurs lentilles pour percevoir le mouvement dans lequel s\u2019inscrivent les projets dans les cheminements des artistes. En litt\u00e9rature et en musique, le cycle d\u00e9signe un ensemble d\u2019\u0153uvres ou de chansons centr\u00e9 sur un th\u00e8me ou un h\u00e9ros. Le travail de Michael Karras s\u2019inspire d\u2019un cycle de chansons compos\u00e9 par Ralph Vaughan Williams, Songs of Travel (\u00ab\u2009Chants de voyage\u2009\u00bb), une \u0153uvre qu\u2019il a connue intimement en tant que soliste et qu\u2019il r\u00e9interpr\u00e8te maintenant par le prisme de l\u2019art visuel. Yueran Zhong, dont le travail nourrit des liens \u00e9troits avec l\u2019h\u00e9ritage culturel chinois de l\u2019artiste, repr\u00e9sente des motifs traditionnels porteurs de bonne fortune et de long\u00e9vit\u00e9. L\u2019installation tricot\u00e9e d\u2019\u00c9lise Grenier, qu\u2019elle a entreprise pour mieux prendre soin de l\u2019enfant qu\u2019elle a jadis \u00e9t\u00e9, amorce un nouveau cycle rituel d\u2019o\u00f9 sont issus de nouvelles traditions et souvenirs qui se superposent \u00e0 ceux de la m\u00e9moire familiale.<\/p>\n

En biologie et en chimie, le cycle d\u2019un \u00e9l\u00e9ment renvoie \u00e0 son passage \u00e0 travers diff\u00e9rents \u00e9tats ou organismes, comme les mol\u00e9cules d\u2019eau dont l\u2019aspect passe sans cesse du solide au vaporeux, mais que l\u2019on reconna\u00eet tout de m\u00eame comme telles, dans les d\u00e9p\u00f4ts min\u00e9raux de Mars ou dans la s\u00e8ve de l\u2019ortie. Les fibres v\u00e9g\u00e9tales qui fournissent la mati\u00e8re premi\u00e8re aux \u0153uvres de papier de Faustine Gruninger traversent aussi une s\u00e9quence d\u2019\u00e9tats au fil de leur traitement, de la cueillette des plantes au moulage des feuilles de papier, en passant par la cuisson et l\u2019extraction des fibres de chaque esp\u00e8ce selon des param\u00e8tres sp\u00e9cifiques. Les v\u00e9g\u00e9taux retrouvent une forme d\u2019int\u00e9grit\u00e9 dans la reconstitution de leur portrait grav\u00e9 sur leurs propres tissus reconstruits. Fascin\u00e9e par la g\u00e9om\u00e9trie des motifs r\u00e9p\u00e9titifs, Laura Pohl les transpose d\u2019un m\u00e9dium \u00e0 l\u2019autre. Les configurations de grilles et de losanges qui composent ses motifs sont devenues courtepointes, lesquelles servent \u00e0 leur tour de sujets pour une s\u00e9rie de peintures inspir\u00e9es des \u00e9tudes de draperies de la Renaissance.<\/p>\n

Dans la langue g\u00e9n\u00e9rale, le cycle fait aussi r\u00e9f\u00e9rence \u00e0 une s\u00e9rie de rencontres ou d\u2019\u00e9v\u00e9nements visant un objectif commun. Dans ce sens, le projet d\u2019exposition des finissant\u00b7es en beaux-arts de l\u2019Universit\u00e9 Bishop\u2019s consiste lui-m\u00eame en un processus cyclique, en une ronde de n\u00e9gociations, o\u00f9 la r\u00e9p\u00e9tition des m\u00eames \u00e9tapes d\u2019une ann\u00e9e \u00e0 l\u2019autre g\u00e9n\u00e8re pourtant des exp\u00e9riences tr\u00e8s diff\u00e9rentes pour les participant\u00b7es de chaque cohorte, et pour chaque membre d\u2019une m\u00eame cohorte. Il ne saurait en \u00eatre autrement, car si le processus cyclique revient effectivement \u00e0 son \u00e9tat initial en septembre, le nouveau point de d\u00e9part que repr\u00e9sente cette remise \u00e0 z\u00e9ro tombe toujours quelque part en territoire inconnu, un territoire forg\u00e9 et d\u00e9limit\u00e9 par une combinaison in\u00e9dite de circonstances \u2013 le v\u00e9cu et l\u2019identit\u00e9 des finissant\u00b7es de l\u2019ann\u00e9e, ceux du ou de la commissaire, leurs int\u00e9r\u00eats et temp\u00e9raments respectifs, la conjoncture sociale, politique, \u00e9conomique et id\u00e9ologique et son influence sur les participant\u00b7es et les institutions au sein desquelles ils et elles \u00e9voluent \u2013 qui ne se reproduira jamais tout \u00e0 fait.<\/p>\n

Dans le cycle r\u00e9side donc aussi une force d\u2019opposition, une tension entre la reconduction assujettissante de ph\u00e9nom\u00e8nes in\u00e9luctables et le potentiel it\u00e9ratif qu\u2019offre la part de contingence, de chaos, qu\u2019ils renferment. C\u2019est de cet al\u00e9a que peut survenir la transformation. Les peintures de Nana Sani et de Caleb Stemp, en m\u00e9nageant de l\u2019espace pour la spontan\u00e9it\u00e9 dans des approches formelles cependant r\u00e9fl\u00e9chies et d\u00e9finies, ont en commun de tirer avantage de cette tension f\u00e9conde. La contribution d\u2019Ana Maria Torres, \u00e0 la fois reconnaissance et contestation de ce pouvoir entropique, s\u2019attelle \u00e0 apprivoiser le d\u00e9sordre en l\u2019encapsulant encore et encore dans ses images et ses livres. Et Oc\u00e9ane Dessureault-Opalewski explore les m\u00e9canismes psychologiques \u00e0 l\u2019\u0153uvre dans la reconstruction perp\u00e9tuelle de l\u2019image de soi, dont la repr\u00e9sentation intime oscille sans cesse entre les p\u00f4les de l\u2019objectivit\u00e9 et de la distorsion tout en se cristallisant peu \u00e0 peu.<\/p>\n

Ph\u00e9nom\u00e8ne it\u00e9ratif, la cyclicit\u00e9 renforce; ce qui fait l\u2019objet de ce renforcement, cependant, peut \u00eatre aussi b\u00e9n\u00e9fique que destructeur. Un cycle peut favoriser la croissance\u2026 comme la violence. La cyclicit\u00e9 n\u2019est donc pas une promesse de stabilit\u00e9 ou de succ\u00e8s : elle offre tout au plus une chance de revivre certaines exp\u00e9riences, et de changer un peu chaque fois. Peut-\u00eatre pour le mieux. Reconna\u00eetre ce mouvement et les contraintes qui le r\u00e9gissent nous place en position de regagner une part de contr\u00f4le, en tant qu\u2019artistes et individus, sur ces forces qui rythment notre d\u00e9veloppement, notre vie et celle de notre collectivit\u00e9.<\/p>\n

Si chaque artiste, en entreprenant son projet de cr\u00e9ation, s\u2019est engag\u00e9\u00b7e dans un cycle qui lui est propre, l\u2019exposition des finissant\u00b7es repr\u00e9sente donc l\u2019intersection de tous ces cycles, de m\u00eame que du cycle commissarial et des cycles institutionnels, en un point bien pr\u00e9cis que l\u2019on pourrait assimiler \u00e0 la notion de\u2009lieu (en anglais, \u00ab\u2009place\u2009\u00bb) que le critique et th\u00e9oricien de l\u2019art Steven Henry Madoff d\u00e9finit comme le \u00ab\u2009point de contact entre mouvement, sensation et sens \u2013 un agr\u00e9gat de m\u00e9canismes de mobilit\u00e9, d\u2019actes de cognition individuels et de d\u00e9cisions partag\u00e9es \u00e0 propos de ce que nous sommes pr\u00eats \u00e0 tol\u00e9rer, \u00e0 n\u00e9gocier et \u00e0 accepter concernant ce que cela signifie que d\u2019\u00eatre humain, en priv\u00e9 et en public[1]<\/sup><\/a>\u2009\u00bb. Madoff oppose le lieu, balis\u00e9 par l\u2019entrecroisement focalis\u00e9 de gestes individuels et collectifs, \u00e0 l\u2019espace (en anglais, \u00ab\u2009space\u2009\u00bb), indiff\u00e9renci\u00e9 et perp\u00e9tuel : \u00ab\u2009Le lieu est le centre des d\u00e9placements, qui fixe la fluidit\u00e9 de l\u2019espace en un endroit significatif, une concentration de t\u00e2ches dans le temps qui conduit \u00e0 des compr\u00e9hensions possibles de notre humanit\u00e9[2]<\/sup><\/a> […]\u2009\u00bb Comme un alignement plan\u00e9taire rarissime, la superposition des cycles individuels ne dure qu\u2019un instant dans la course du mouvement, et le lieu de leur intersection, momentan\u00e9ment charg\u00e9 de sens, se d\u00e9noue \u00e0 nouveau dans l\u2019espace d\u00e8s le d\u00e9montage entam\u00e9.<\/p>\n

En somme, we become singular. vous convie \u00e0 \u00eatre t\u00e9moin d\u2019une \u00e9clipse.<\/p>\n

 <\/p>\n

Marie-Mich\u00e8le Robitaille<\/strong><\/p>\n<\/div>\n

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Commissaire \u00e9tudiante<\/p>\n<\/div>\n

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Notes<\/p>\n

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[1]<\/sup><\/a> Extrait de la pr\u00e9face de Steven Henry Madoff \u00e0 l\u2019essai de Terry Smith intitul\u00e9 Curating the Complex and The Open Strike (Sternberg Press, 2021).<\/p>\n

[2]<\/sup><\/a> Ibid<\/em>.<\/p>\n

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type=\u00a0\u00bb1_2″ _builder_version=\u00a0\u00bb4.16″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_button button_url=\u00a0\u00bbhttps:\/\/foreman.ubishops.ca\/wp-content\/uploads\/2023\/07\/00-Plan-de-salle_we-become-singular_def_compressed.pdf\u00a0\u00bb button_text=\u00a0\u00bbPlan de salle\u00a0\u00bb button_alignment=\u00a0\u00bbcenter\u00a0\u00bb _builder_version=\u00a0\u00bb4.22.1″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb custom_button=\u00a0\u00bbon\u00a0\u00bb button_text_size=\u00a0\u00bb17px\u00a0\u00bb button_text_color=\u00a0\u00bb#474747″ button_border_color=\u00a0\u00bb#474747″ global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][\/et_pb_button][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\u00a0\u00bb1″ _builder_version=\u00a0\u00bb4.16″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][\/et_pb_section][et_pb_section fb_built=\u00a0\u00bb1″ 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OC\u00c9ANE DESSUREAULT-OPALEWSKI (alias LESHACHIKHA)<\/span><\/h5>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00a0\u00bb2_3,1_3″ _builder_version=\u00a0\u00bb4.16″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_column type=\u00a0\u00bb2_3″ _builder_version=\u00a0\u00bb4.16″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb][et_pb_text _builder_version=\u00a0\u00bb4.22.1″ _module_preset=\u00a0\u00bbdefault\u00a0\u00bb text_orientation=\u00a0\u00bbjustified\u00a0\u00bb global_colors_info=\u00a0\u00bb{}\u00a0\u00bb]<\/p>\n

\u00c9tudiante au baccalaur\u00e9at en art avec sp\u00e9cialisation en beaux-arts, en psychologie appliqu\u00e9e et en \u00e9tudes contemplatives et pleine conscience, Oc\u00e9ane Dessureault-Opalewski<\/strong> (alias Leshachikha) cr\u00e9e des \u0153uvres portant sur la sant\u00e9 mentale, les identit\u00e9s de genre, le folklore et la fantaisie.<\/p>\n

Sa pratique, qui m\u00eale des m\u00e9dias tels que le stylo et le crayon, l\u2019aquarelle, le fusain, les techniques mixtes et le collage, lui a valu la bourse Wanda Rozynska en beaux-arts.<\/p>\n

Polyvalente et curieuse, Oc\u00e9ane envisage une carri\u00e8re en constante \u00e9volution qui lui offrirait vari\u00e9t\u00e9 et flexibilit\u00e9.<\/p>\n

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Leshachikha<\/strong>\u2019s background in psychology has led her on an inquiry into mental health through expressive representations of bodies and portraits in elusive and fickle mediums such as watercolours and charcoal. While her work has long shown interest in women\u2019s mental health journeys viewed from a witness\u2019s perspective, her current research roams her own mental landscape.<\/span><\/p>\n

Through a feminist lens, she investigates the volatility of the human psyche and the struggle of treading the blurry line between empowerment and self-exploitation by turning inward, striving to unearth hidden gems and scars in her own mind, in the hopes of fleshing out ubiquitous truths about mental health. Highly self-reflective, her latest work is a process of challenging head-on her own identity-constructing beliefs by questioning the very nature and accuracy of memories and their influence over self and body perception and acceptance.<\/span><\/p>\n

To that end, she casts a critical look on her self-image, for the first time using herself as the direct object of study. She manipulates the subject-object relationship by basing her drawings on photographs of herself, acting simultaneously as an outside spectator and a subject with insider knowledge, in an exercise of identifying both objective and distorted visions of herself, and having them meet in the middle.<\/span><\/p>\n

In her latest installation, sinuous lines and billowy shapes unite on soft fabrics, bedsheets standing in for a space of vulnerability and self-knowledge, to create a sense of precariousness and fragility that reflects the psyche and embodies the messy and evolving relationship between body, mind, and soul.<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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\u00c9LISE GRENIER<\/span><\/h5>\n

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N\u00e9e et \u00e9lev\u00e9e \u00e0 Sherbrooke, \u00c9lise Grenier<\/strong> a d\u2019abord \u00e9tudi\u00e9 la biologie dans une universit\u00e9 du Nouveau-Brunswick avant de changer de programme et de revenir s\u2019\u00e9tablir \u00e0 Sherbrooke. Elle est sur le point de terminer sa troisi\u00e8me et derni\u00e8re ann\u00e9e de baccalaur\u00e9at en art avec sp\u00e9cialisation en beaux-arts. <\/p>\n

Combinant papier, crochet, broderie, crayons de couleur et marqueurs, les illustrations et les \u0153uvres textiles d\u2019\u00c9lise s\u2019int\u00e9ressent au concept de la \u00ab\u2009famille retrouv\u00e9e\u2009\u00bb, aux r\u00f4les de genres, aux identit\u00e9s queers et aux contes de f\u00e9es. Elle a re\u00e7u la bourse comm\u00e9morative Peggy et David Savage en 2022.<\/p>\n

Elle souhaite \u00e9tablir et d\u00e9velopper sa client\u00e8le par le biais des m\u00e9dias sociaux tout en cr\u00e9ant de l\u2019art et du contenu multim\u00e9dia pour diverses plateformes. Elle r\u00eave de devenir illustratrice de livres et de produire un jour son propre roman graphique.<\/p>\n

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\u00c9lise Grenier<\/strong> works with fibres, illustration and mixed media, often combining freehand crochet and embroidery in her installation pieces. The oldest of four children, and unknowingly growing up as neurodivergent, she was forced to adjust quickly in childhood. She had to adapt to an inhospitable world full of senseless social standards and find ways to deal with multiple responsibilities early on. After being diagnosed later in life, she realized that many of her childhood memories held a different meaning now, and she started considering them with love and acceptance, instead of frustration and embarrassment, in an attempt to self-parent and heal.<\/p>\n

Only recently has Grenier been letting herself act the way she\u2019s always wanted to growing up, and has started pandering to her inner child and healing through it. Her room is now filled with trinkets, books, toys and various decorations. As a self-described \u201cmaterial girl,\u201d Grenier draws a strong sense of security and emotional value from her possessions. Her maximalist aesthetic is also reflected in her artworks, which tend to incorporate sentimental objects.<\/p>\n

Inspired by the following quote by Dr. Taylor Alison Swift : \u201cYou\u2019re on your own, kid,\u201d Grenier seeks to become her own support system by crocheting clothes and objects for herself and taking pictures with them to keep forever. Using art forms, mediums and imagery traditionally associated with objects gifted by mothers to their children or grandchildren, her work conveys a sense of nostalgia and family. Her latest installation, however, rather than drawing inspiration from existing family memories, is dictated entirely by her own taste to create new self-relying traditions and memories.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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FAUSTINE GRUNINGER (alias FAUSTINE)<\/span><\/h5>\n

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\u00c9tudiante en beaux-arts, Faustine Gruninger<\/strong> utilise des techniques telles que la gravure, l\u2019eau-forte, le dessin, la peinture et la couture dans sa recherche d\u2019un nouveau r\u00e9cit qui guiderait et inspirerait les humains \u00e0 entretenir une relation plus joyeuse et plus r\u00e9ciproque avec la terre.<\/p>\n

Ses efforts ne sont pas pass\u00e9s inaper\u00e7us : elle est laur\u00e9ate de la bourse Wanda Rozynska et du Prix du premier cycle en beaux-arts, de la bourse John et Pattie Cleghorn et de la bourse Stanley Mills en sciences humaines. Elle a \u00e9galement re\u00e7u une bourse d\u2019initiation \u00e0 la recherche de l\u2019Universit\u00e9 Bishop\u2019s et s\u2019est vu d\u00e9cerner le Premier Prix de r\u00e9alisme figuratif du Festival des arts de Mascouche.<\/p>\n

Faustine aspire \u00e0 vivre de la vente de ses \u0153uvres et \u00e0 cultiver ses propres aliments.<\/p>\n

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Par la rencontre entre les m\u00e9diums de la gravure, du livre d\u2019artiste, de l\u2019art de la fibre et de la peinture, le travail de Faustine<\/strong> se penche sur les croyances et les r\u00eaves qui permettraient aux humains de vivre plus harmonieusement avec la Terre.<\/p>\n

Sa d\u00e9marche artistique d\u00e9bute t\u00f4t en amont de l\u2019\u0153uvre par un processus de plus en plus inclusif. Il s\u2019amorce souvent dans le champ ou la for\u00eat o\u00f9 elle observe, cultive ou r\u00e9colte ses mati\u00e8res premi\u00e8res. Elle extrait les pigments et les fibres qui deviendront couleurs, papiers ou fil. Sensible \u00e0 la beaut\u00e9 des mati\u00e8res d\u00e9laiss\u00e9es ou rejet\u00e9es, elle collecte les vieux tissus et le bois ab\u00eem\u00e9 pour leur rendre leur utilit\u00e9. Elle apprend \u00e0 se laisser guider par ces rencontres avec la nature et la mati\u00e8re ainsi qu\u2019\u00e0 les laisser s\u2019exprimer.<\/p>\n

Cet \u00e9tat cr\u00e9atif lui permet d\u2019apaiser et de transcender ses doutes, ses peurs et ses col\u00e8res tout en accompagnant sa propre d\u00e9colonisation et transformation. Les \u0153uvres qui en r\u00e9sultent sont nourries par l\u2019imaginaire et \u00e9laborent les nombreux r\u00e9cits d\u2019une mutation n\u00e9cessaire et sensible.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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MICHAEL KARRAS<\/span><\/h5>\n

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Michael Karras<\/strong> obtiendra bient\u00f4t un baccalaur\u00e9at en art avec des majeures en beaux-arts et en \u00e9conomie et des mineures en physique, en math\u00e9matiques, en finance et en musique. <\/p>\n

Il a enseign\u00e9 le travail du bois pendant de nombreuses ann\u00e9es. Inspir\u00e9e par la tradition classique et l\u2019artisanat, sa pratique s\u2019\u00e9tend maintenant \u00e0 la sculpture et \u00e0 la peinture, en particulier au portrait. Touch\u00e9 par le pouvoir narratif de l\u2019art, il s\u2019int\u00e9resse \u00e0 l\u2019histoire des gens \u00e0 travers l\u2019imagerie figurative.<\/p>\n

Michael souhaite continuer \u00e0 poursuivre divers int\u00e9r\u00eats \u2013 il aimerait construire un r\u00e9seau de distribution! \u2013 et \u00e0 transmettre ses connaissances aux autres.<\/p>\n

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A painter and sculptor, Michael Karras<\/strong> creates narratives inspired by people\u2019s stories, cultures and events he encounters in his travels. Full of hope and contradictions, these stories, sometimes torn between primal instincts and exquisite acts of loving kindness, fill his imagination. By allowing these contrasts and tensions to emerge, his production seeks to honour the creative genius that characterizes the human experience.<\/p>\n

For Karras, his work is an invitation extended to the viewer to enter a conversation. His expressionist pictorial language calls both for contemplation and participation. Often set in atmospheric conditions, his compositions play with tone and rhythm to create visual coloraturas that fuse and reinterpret the many stories and places that crossed his path.<\/p>\n

In his latest project, Karras revisited Ralph Vaughan Williams\u2019s Songs of Travel,<\/em> reinterpreting in painting each of the nine songs that compose the cycle, which he has come to know very well as a classical vocalist. The cycle is an anthology about the impermanence of life, a core tenet of Buddhism, which Karras practices in his personal life. Moved by the poetic images summoned by the music and the lyrics rooted in profound spirituality, Karras took on the challenge of letting the opus guide his hand.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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LAURA POHL<\/span><\/h5>\n

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Passionn\u00e9e par tout ce qui touche \u00e0 l\u2019artisanat, en particulier le tricot et la joaillerie, Laura Pohl<\/strong> obtiendra bient\u00f4t un son baccalaur\u00e9at en beaux-arts. <\/p>\n

Elle cr\u00e9e des \u0153uvres color\u00e9es qui offrent souvent des repr\u00e9sentations r\u00e9alistes d\u2019animaux \u00e0 l\u2019huile, \u00e0 l\u2019acrylique et m\u00eame en textile brod\u00e9.<\/p>\n

N\u00e9e dans le Massachusetts et poss\u00e9dant la double nationalit\u00e9, elle r\u00eave d\u2019avoir sa propre ferme sur Fair Isle, une petite \u00eele au large de l\u2019\u00c9cosse qui jouit d\u2019une riche tradition de tricot et d\u2019un paysage magnifique.<\/p>\n

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Laura Pohl<\/strong>\u2019s fibre and painting practices draw from her love of colour and pattern. She considers herself just as much a crafter as an artist. Recently, her crafting practice has been rooted in historical themes, which inspired new imagery.<\/p>\n

Pohl is an American-Canadian dual citizen who has been a crafter and artist her entire life. She finds repetitive patterns mesmerizing and that fascination persists in her fibre crafts through quilting and most recently traditional fair isle knitting.<\/p>\n

Her interest in crafting history and recreating historical fibre crafts has newly emerged in her paintings. She studies her subjects carefully as she strives to understand their complete form and experiments with loose, decisive brush strokes to capture painterly realism. Her paintings are colourful and detailed with striking light and shadow.<\/p>\n

In her latest series, Pohl depicts historical American quilt patterns as classical drapery. This project was inspired by her research into quilting history, particularly the 1971 pieced quilt exhibit at the Whitney Museum of American Art, which brought the historic women\u2019s craft into the fine arts world for the first time, displaying the quilts hung on the gallery walls like high art. The exhibit, however, omitted all context in favour of aesthetics, dispensing with the quilters\u2019 names, geological distinctions, and historical importance. By contrast, Pohl\u2019s paintings of draped quilts, rather than decontextualizing craftsmanship for the benefit of fine art conventions, regard these works with the esteem they deserve. Uniting craft and art, her paintings depict quilts as what they are: tactile, soft, moveable, yet undeniably painterly.<\/p>\n

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NANA SANI<\/span><\/h5>\n

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Paysages chim\u00e9riques, les peintures de Nana Sani<\/strong> rassemblent et modifient des fragments extraits d\u2019images collectionn\u00e9es pour g\u00e9n\u00e9rer des r\u00e9cits parall\u00e8les qui sondent les notions de sens, de discours et d\u2019interpr\u00e9tation.<\/p>\n

Sani a grandi en collectionnant diverses images, qu\u2019elle superposait les unes aux autres. De ces images, elle extrayait des d\u00e9tails, d\u00e9contextualisait des personnages, r\u00e9it\u00e9rait des visages afin de leur donner un aspect hybride. <\/p>\n

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Paysages chim\u00e9riques, les peintures de Nana Sani<\/strong> rassemblent et modifient des fragments extraits d\u2019images collectionn\u00e9es pour g\u00e9n\u00e9rer des r\u00e9cits parall\u00e8les qui sondent les notions de sens, de discours et d\u2019interpr\u00e9tation.<\/p>\n

Sani a grandi en collectionnant diverses images, qu\u2019elle superposait les unes aux autres. De ces images, elle extrayait des d\u00e9tails, d\u00e9contextualisait des personnages, r\u00e9it\u00e9rait des visages afin de leur donner un aspect hybride. D\u00e9coule de cette pratique ludique un int\u00e9r\u00eat pour l\u2019image comme lieu de narrations multiples. L\u2019image elle-m\u00eame lui importe peu; c\u2019est la multiplication de sa lecture, de son interpr\u00e9tation, rendue possible par l\u2019association et la m\u00e9tamorphose r\u00e9p\u00e9t\u00e9e, qu\u2019elle recherche.<\/p>\n

Dans ses peintures, tout existe en m\u00eame temps. Celles-ci se pr\u00e9sentent comme des espaces de reconnaissance de r\u00e9alit\u00e9s fa\u00e7onn\u00e9es, o\u00f9 les formes g\u00e9om\u00e9triques d\u00e9fient l\u2019organicit\u00e9 des visages et des corps dans un vocabulaire parfois emprunt\u00e9 au surr\u00e9alisme. Elle joue du pouvoir qu\u2019a la peinture d\u2019\u00e9carter le r\u00e9alisme pour t\u00e9moigner d\u2019un univers autre. Par ces diff\u00e9rentes lectures, ses peintures remettent en question le discours que porte l\u2019image, le discours de l\u2019artiste par rapport au spectateur, la diff\u00e9rence entre l\u2019intention, le sens et l\u2019interpr\u00e9tation.<\/p>\n

En manipulant l\u2019image, Sani superpose diff\u00e9rents points de vue et tisse des histoires ouvertes qui se laissent penser enti\u00e8rement ou s\u2019ach\u00e8vent dans l\u2019esprit du spectateur.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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CALEB STEMP<\/span><\/h5>\n

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N\u00e9 \u00e0 Toronto, Caleb Stemp<\/strong> a grandi \u00e0 Keene, dans le New Hampshire, aux \u00c9tats-Unis, o\u00f9 il vit actuellement. Il est sur le point de terminer sa quatri\u00e8me ann\u00e9e au baccalaur\u00e9at en administration des arts et en beaux-arts. <\/p>\n

Bien qu\u2019il soit toujours ouvert \u00e0 l\u2019exp\u00e9rimentation, il revient souvent \u00e0 la peinture et au dessin pour explorer des th\u00e8mes tels que la cyclicit\u00e9, la fantaisie et la connexion. Adolescent, Caleb a re\u00e7u la bourse Scholastic pour l\u2019art et l\u2019\u00e9criture et la bourse Mildred Calder Kilgore.<\/p>\n

Il envisage une carri\u00e8re dans l\u2019administration des arts, \u00e9ventuellement en tant qu\u2019organisateur d\u2019\u00e9v\u00e9nements.<\/p>\n

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Caleb Stemp<\/strong>\u2019s acrylic paintings can be recognized by their blending of vivid colours, abstraction of forms suggestive of nature, and use of circles.<\/p>\n

Organized and diligent in his day-to-day, Stemp uses his artistic practice as an outlet for playful, unstructured, and free experimentation. Fluid brush strokes and vibrant colour relationships cultivate images that are flowering, shifting, and ethereal. His pieces are not industrial or sculptural in nature, nor are they outcomes of a carefully planned, step-by-step process. Rather, they are opportunities to play and wonder.<\/p>\n

This immediate negotiation with materials and subject matter not only leads to a more organic and dynamic execution, but also forces him to grow along with his creations. Through painting, he allows his mind to wander, leading to whimsical pieces invoking themes of dreams and consciousness, as well as expansion. By nurturing an open and cyclical quality in his work, he hopes to invite viewers to a communal experience of introspection and reflection.<\/p>\n

Stemp currently lives in Keene, New Hampshire, USA, though he is always seeking out the next travel destination with his friends and family (or the nearest beach). Beyond his artistic practice, Stemp enjoys organizing and managing artistic events, such as coordinating the Common Fibres symposium and co-directing the Bishop\u2019s University ArtsFest. While art acts for him as an introspective form of self-expression, Stemp also sees it as an opportunity for collaboration and wants to create platforms for artistic cooperation to take place.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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ANA MARIA TORRES<\/span><\/h5>\n

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\u00c9tudiante en beaux-arts, Ana Maria Torres<\/strong> a d\u00e9m\u00e9nag\u00e9 de la Colombie au Qu\u00e9bec \u00e0 l\u2019\u00e2ge de 8 ans.<\/p>\n

Enracin\u00e9e dans la peinture et le dessin, sa pratique s\u2019aventure \u00e9galement dans la sculpture et le livre d\u2019artiste. Elle utilise actuellement la couleur et la texture comme moyens de r\u00e9flexion sur le d\u00e9sordre, l\u2019encombrement et l\u2019accumulation.<\/p>\n

Elle aspire \u00e0 une carri\u00e8re d\u2019artiste professionnelle ou de restauratrice.<\/p>\n

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Ana Maria Torres<\/strong> enjoys contemplating, observing, and discovering. She uses drawing, painting, and bookmaking to organize the thoughts that come to her during these moments of observation. Inspired by highly detailed ink illustrations, notably those of Kerby Rosanes, and by popular culture and media, she creates playful compositions where stylized female figures and popular imagery are carefully delineated with fine, crisp lines. Many of her recent works are acrylic paintings where she depicts her characters in nonsensical, often pattern-centred, colourful backgrounds.<\/p>\n

Experimentation with mediums is an ongoing part of Torres\u2019s practice. Recently, material exploration led her to new interests, such as fashion and photo books, through which texture, stylization, and conceptualization have become an important part of her work.<\/p>\n

Photo books also revived her interest in bookmaking techniques. Incorporating illustration and collage, her budding bookmaking practice allows her to share her visions in a format that evokes the sketchbooks she used to fill as a teenager.<\/p>\n

An avid consumer of music, movies, books, as well as social media, Torres picks and chooses imagery from a broad range of often unrelated pop cultural productions. She uses these different sources as Easter eggs for her own amusement, like a game of finding the reference to which only she knows the rules and answers. It is in response to this torrent of inspiration that the themes of clutter and disorder came to emerge in her latest projects.<\/p>\n

In the end, she just wants to have fun; art allows her to enjoy her mind.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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YUERAN ZHONG<\/span><\/h5>\n

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Yueran Zhong<\/strong> ach\u00e8ve sa quatri\u00e8me et derni\u00e8re ann\u00e9e au baccalaur\u00e9at en administration des arts et en beaux-arts. <\/p>\n

Elle entretient des liens \u00e9troits avec son h\u00e9ritage chinois en incorporant des r\u00e9f\u00e9rences culturelles dans ses dessins au trait complexes. Elle s\u2019int\u00e9resse tout particuli\u00e8rement \u00e0 l\u2019anatomie artistique.<\/p>\n

Yueran r\u00eave de devenir conservatrice d\u2019art.<\/p>\n

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Yueran Zhong<\/strong> creates detailed drawings and paintings that often feature traditional elements from her Chinese heritage. Her linear drawings in pencils and watercolour seek to reproduce the appearance of objects and scenes in faithful yet delicate portrayals. Everything the eye sees is carefully presented on paper as much as possible.<\/p>\n

Zhong draws confidence from the cultural traces of her home country. Traditional Chinese patterns are inherited from a 5000-year-old civilization. A totem of the Chinese nation, they express the yearning and beautiful hope of the Chinese people for a better life. During the Spring Festival, many Chinese families put couplets and window flowers on their homes, symbolizing their efforts to change their lives as well as their wishes for the coming year.<\/p>\n

In her latest project, Zhong portrays the integration of such patterns. Pine trees and cranes, which represent longevity, appear in her pictures as bearers of a long and healthy life. By depicting traditional Chinese patterns, Zhong also hopes to bring some good luck to her viewers.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Nous tenons \u00e0 exprimer nos remerciements les plus sinc\u00e8res \u00e0 l\u2019Association \u00e9tudiante de l\u2019Universit\u00e9 Bishop\u2019s (BUSRC), \u00e0 la doyenne des affaires \u00e9tudiantes, Dr Stine Linden-Andersen, \u00e0 la doyenne de la Facult\u00e9 des arts, Dr Michele Murray, au vice-recteur acad\u00e9mique, Dr Andrew Webster, au directeur du D\u00e9partement des beaux-arts, Dr James Benson, ainsi qu\u2019\u00e0 l\u2019Association des ancien\u00b7nes \u00e9l\u00e8ves de l\u2019Universit\u00e9 Bishop\u2019s pour leur g\u00e9n\u00e9reuse contribution financi\u00e8re. Nous sommes \u00e9galement reconnaissant\u00b7es \u00e0 la vice-rectrice associ\u00e9e au bureau de l\u2019avancement universitaire, Jacqueline Scott, de m\u00eame qu\u2019au coordonnateur des relations aupr\u00e8s des dipl\u00f4m\u00e9\u00b7es, Sterling Mawhinney, pour l\u2019aide consid\u00e9rable qu\u2019elle et il nous ont apport\u00e9e lors de notre campagne de financement.<\/p>\n

Nous souhaitons \u00e9galement souligner l\u2019\u00e9troite collaboration entre la Galerie d\u2019art Foreman et le D\u00e9partement des beaux-arts dans la coordination de ce projet.<\/p>\n

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Au sens premier du cycle comme une s\u00e9quence p\u00e9riodique de ph\u00e9nom\u00e8nes, nos existences sont constitu\u00e9es d\u2019innombrables cycles, rapides et lents, \u00e0 la fois concurrents et successifs. Si la cyclicit\u00e9 implique la r\u00e9p\u00e9tition, elle n\u2019exclut pas la nouveaut\u00e9 ni le changement \u2013 bien au contraire. 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