Topographies intimes is an encounter between five artists who, with a mixture of vulnerability and reserve, reveal the protrusions of their inner landscapes. In their works, the land, architecture and the stars are symbolic motifs in which they transpose their sensibility, their preoccupations, their view of the world and their imagination.
In her works, Véronique La Perrière M. deploys an enchanting pictorial language inspired by the imagery of fables, fairy tales and myths. Floating forests, hybrid creatures and surreal, dreamlike coastal landscapes reveal her abundant imagination. Using pastel and charcoal, she draws ambiguous narratives enveloped in a gentle strangeness.
Eveline Boulva’s fragmented landscapes are travel narratives, each work subtly tinged with the encounters she has made there, the sensations she has felt and the experiences she has had. Her paintings superimpose her intimate and scientific vision of the territories she explores. This series of works, which she created following a trip to Indonesia, reflects a loss of cultural reference points, manifested in landscapes of volcanoes made difficult to read by processes of superimposition, sliding, multiplication and transparency.
Alexanne Dunn probes the notion of intimacy through an in-depth study of architectural elements and windows, translating their subtle chromatic variations with sensitivity. Through this meticulous attention to detail, she precisely captures the luminous effects of glass, such as transparency, reflection and refraction, magnifying the beauty of everyday life in all its nuances. By offering a glimpse into the inner worlds of others, windows stimulate curiosity, imagination and dreams.
Finally, Gilles Mihalcean’s sculptures are visual metaphors to be deciphered. Poetic and narrative, his inventive constructions are elaborated by assembling scientific, technological and cosmic representations and everyday objects. They reflect profound philosophical and spiritual reflections, as well as the artist’s preoccupations, both intimate and universal. With Tête de Robert Lepage, Mihalcean renews the academic tradition of sculpted portraiture and establishes a dialogue with the history of sculpture and the tradition of the commemorative bust. With this non-figurative bust of this key figure in Quebec’s cultural landscape, the artist pays tribute to him, once again expressing his fascination and attachment to Quebec’s popular culture.