Opening

4@7
5 May 2018

Exhibition

5 - 23 May 2018
Add to calendar 2018-05-5 10:00:00 2018-05-23 17:00:00 America/New_York Nous ne sommes pas au monde EXHIBITION CATALOG >   Painter and sculptor, Jérôme Poirier’s, solo exhibition, Nous ne sommes pas au Monde, at Galerie Blanche Montreal, consists of fifteen recent paintings that convey the artist’s preoccupations evoked by three major creation axes in his work: memory, hope and truth. The synthesis of painting, photography and xylography, which Jérôme Poirier brings together on a single surface, involves technical challenges, while enabling him to explore the ins and outs of the “confrontational” pictorial space, as the artist refers to it. The space between reason and emotion. According to him, truth lies in the sensory experience. (…) in concrete terms, the subject matter for his painting is drawn from quick sketches inspired by snapshots taken of people in the urban environment during his photographic outings. His characters, which he refers to as “aesthetes,” are rendered with astonishing realism, and convey specific formal and aesthetic points of view. In the piece Externalization, the artist seeks out the internalization and externalization mechanisms of rational thought. He evokes the human’s subjective perception of a dog, and mental structuring (geometric forms), then a figurative representation of the subject. (…) (…) The artist strikes a balance in the bipolarity of the work. He juxtaposes the decorative elements, which he refers to as full (visible) with the barren space (the void), which plays a more and more dominating role. “Decorative accessories are superfluous, as they change the look of things,” explains the painter. In fact, his masculine and feminine characters are bald-headed, and they wear purely utilitarian clothing. His imagery alternates between masses, muted and neutral colours, and traits that are sharp one minute then blurry the next. Jérôme Poirier considers the concept of the afterlife so precious that he renders it with gilding, as seen in the painting, Magnificent moment. Excerpt from Nathalie Roy, L’immatériel soudain prend corps, Vie des Arts, Spring 2018, no. 250, pp. 42-43 Translation by Lisa Waite 218 Saint Paul West Montreal, QC, H2Y 1Z9 Galerie Blanche info@galerieblanche.com

Nous ne sommes pas au monde

 
Painter and sculptor, Jérôme Poirier’s, solo exhibition, Nous ne sommes pas au Monde, at Galerie Blanche Montreal, consists of fifteen recent paintings that convey the artist’s preoccupations evoked by three major creation axes in his work: memory, hope and truth.

The synthesis of painting, photography and xylography, which Jérôme Poirier brings together on a single surface, involves technical challenges, while enabling him to explore the ins and outs of the “confrontational” pictorial space, as the artist refers to it. The space between reason and emotion. According to him, truth lies in the sensory experience. (…) in concrete terms, the subject matter for his painting is drawn from quick sketches inspired by snapshots taken of people in the urban environment during his photographic outings. His characters, which he refers to as “aesthetes,” are rendered with astonishing realism, and convey specific formal and aesthetic points of view. In the piece Externalization, the artist seeks out the internalization and externalization mechanisms of rational thought. He evokes the human’s subjective perception of a dog, and mental structuring (geometric forms), then a figurative representation of the subject. (…)

(…) The artist strikes a balance in the bipolarity of the work. He juxtaposes the decorative elements, which he refers to as full (visible) with the barren space (the void), which plays a more and more dominating role. “Decorative accessories are superfluous, as they change the look of things,” explains the painter. In fact, his masculine and feminine characters are bald-headed, and they wear purely utilitarian clothing. His imagery alternates between masses, muted and neutral colours, and traits that are sharp one minute then blurry the next. Jérôme Poirier considers the concept of the afterlife so precious that he renders it with gilding, as seen in the painting, Magnificent moment.

Excerpt from Nathalie Roy, L’immatériel soudain prend corps, Vie des Arts, Spring 2018, no. 250, pp. 42-43 Translation by Lisa Waite