Everything held together (pour l’instant)

2013

Exhibition of new work and works in progress, including photos, drawings, photo-drawings, transitional works, transitory works, reflective installations and photo installations, many of which changed, were added, or were destroyed throughout the course of the exhibition.

For more information and to watch a video made by José Garcia to accompany the exhibition, please visit the gallery website www.pfoac com

review:

http://www.thebelgoreport.com/2013/04/karilee-fuglem-a-pierre-francois-ouellette-art-contemporain

Learning to live on the ground (Somewhere behind my heart)

2008
nylon monofilament, steel: 95 x 106 x 142 in / 240 x 270 x 360 cm

A network of monofilament is made by marking the points between pores on an enlarged photo of the artist’s back. Positioned over a map of stars situated overhead during the exhibition it forms a structure of lines into which fine thread is worked. A vaulted architecture of cellular layers emerges, attached to the floor by steel weights which mark the star points. Between the vertical lines/pores are spaces large enough to stand in.

Learning to live on the ground, Pierre-François Ouellette art contemporain, Montreal (2008)
Circling the Inverse Square, Kitchener-Waterloo Art Gallery, Kitchener, Ontario (2013)

there’s a place on my back that isn’t there

2005
nylon stretch cord, steel cables, plywood and steel mounting structure: 126 x 60 x 84 in / 315 x 150 x 210 cm

Elastic cord is woven between steel cables, creating a space large enough for a person to enter and be supported, leaning into the webbed threads. The cables trace a “constellation” of skin on the artist’s back. [See Out here in space, 2005.]

connective tissue, Pierre-François Ouellette art contemporain, Montréal (2005)
Search for Parallax (based on a constellation related to gallery site), Leo Kamen Gallery, Toronto (2008)

Out Here in Space

2005
6 lambda prints on aluminum, 16 x 20 in to 26 x 48 in / 40 x 50 cm to 90 x 120 cm

Treated as negative film in an otherwise film-less process, the skin of the artist’s back takes on the transparency of endless distance.

Out Here in Space, Leo Kamen Gallery, Toronto, Canada (2005)
Circling the Inverse Square, Kitchener-Waterloo Art Gallery, Kitchener, Ontario (2013; Curator: Shannon Anderson)

Topographic Introspective

2002
20 lambda prints on masonite (5 X 7 – 41 X 54 in / 13 x 18 – 10x x 137 cm) on painted wall with vinyl lettering

20 photographs are presented on a dark wall to mimic a natural history museum exhibition, complete with place names. The photographs are close-ups of my sagging postpartum belly; the place names, chosen by their similarity to my first name, are of sites around the world, and the named universe.

Uncanny, La Centrale Galerie Powerhouse, Montreal, QC, Canada (2002); curator: Christine Redfern
Corporel, Pierre-François Ouellette art contemporain, Montreal, QC, Canada (2011)
installation photos: Paul Litherland

Bubbilicious

2000
glass, ,steel, bubblegum: 19 x 23.5 x 4 in / 50 X 60 X 10 cm

Evidence, Plein Sud, Longueuil, Québec (2000); curator: Hélène Poirier
25 artistes, 25 ans, Leonard and Bina Ellen Gallery, Montréal (2001)
metalwork: Louis Barrette Métaux Ouvrés
photos: Paul Litherland

Unititled (le mur qui respire/breathing wall)

1997
cast rubber latex, acrylic; fans, timer: 118 x 177 x 6 in /300 X 450 X 15 cm
(remade 2010 in silicone)

A membrane of cast rubber latex swells almost imperceptibly in and out, in a mechanical semblance of breathing.  It mimics the surface of a wall with gyproc removed, its surface more like skin than paint. It is backlit in a softly lit room,  giving it a film-like presence. The sound of the fans inflating and deflating is at first calming, but its robotic persistence eventually becomes menacing.

Le mur qui respire, La Chambre blanche, Québec (1997); curator Lisanne Nadeau
Home Invasion, YYZ, Toronto (1997); curators Dai Skuse and Bernie Miller
Corps et sonorité, Musée de Rimouski, Québec (1998); curator: Carl Johnson
La Biennale de Montréal (1998); curator: Claude Gosselin
Conversations with Light and Air, Two Rivers Gallery (2010);
curator: George Harris; technician Ken Turner

production assistance: Louis Barrette, Lalie Douglas (2010 silicone version)

languor

1997
rubber latex, acrylic, plywood, lights, fans, timers, 96 X 96 X 10 in / 244 x 244 x 25 cm

Three larger-than-human size forms lie on a wooden platform. Each inflates and deflates at 3-10 second intervals, gently rising and falling as though breathing. The rhythmic sound of the fans emphasizes the overall sensation of sleep. Each is lit from below. Low ambient lighting combined with the inflating movement can cause the illusion that they are nestled into the platform, or that the platform itself is moving.

De Fougue et de passion, Musée d’art contemporain, Montréal (1997); curator Réal Lussier
Four Views, Owens Art Gallery, Sackville, New Brunswick (1998); curator: Sandra Margolian
Le corps et sonorité, Musée de Rimouski, Quebec (1999); curator: Carl Johnson
Pierre-François Ouellette art contemporain at Salon du Printemps de Montréal (2002)
États de la matière, Stewart Hall Gallery, Pointe-Claire, Quebec (2008); curator: Joyce Millar
woodwork: Reynald Legault (Bois Atout)
photos: Paul Litherland

nothing between

1996
plaster, drywall, pine; steel light stands, 60-watt bulbs, electrical cable (size varies)

The wall is built floor to ceiling with a slight curve at one end and projects into the centre of the exhibition space. It has been built up with plaster “bumps” which are hollow in the back to accommodate light bulbs installed on specially built stands. The light bulbs heat the bumps as well as softly illuminating them through the opening at one end of the wall: they are the sole light source in the work.

nothing between, Galerie Optica, Montreal (1996); technician: Jack Stanley
Sense, Edmonton Art Gallery (2004); curator: Catherine Crowston
metalwork: Louis Barrette Métaux Ouvrés
photos: Paul Litherland

 

Untitled (wasted breath)

1996-97
Balloons, dental floss, motorized ceiling bracket; 72 X 18 in / 182 x 45 cm (size varies)

This accumulation of partially-deflated balloons is activated by a motorized ceiling bracket which makes the whole thing jiggle rhythmically back and forth, emulating a sensual dancing motion.

Corps et empreinte, Galerie Samuel Lallouz, Montréal (1996)
Galerie Samuel Lallouz at ARCO, Madrid (1997)
motorized ceiling bracket: Louis Barrette Métaux Ouvrés
photos: Paul Litherland