Raphaëlle Groulx-Julien

Painting, sculpture, photography

Raphaëlle Groulx-Julien

Biography

Raphaëlle Groulx-Julien’s artwork reflects multidisciplinary research involving painting,
drawing, printed mediums, and sculpture – especially mouldings and ceramics. Regardless of the medium, she always incorporates assemblage, collage, juxtaposition, and confrontational images and objects. Raphaëlle simultaneously experiments with the traditional use of mediums, such as oil painting and porcelain, and the use of mass-produced images. Her research conveys first and foremost her enchanted, and sometimes playful, view of the world. The common thread in her work is an exploration of the individual’s interaction with desire, via a sublimation of materials that occurs through the connection of images and objects.

Recipient of a SSHRC grant, Raphaëlle Groulx-Julien will begin her Master’s in Arts visuels et médiatiques at UQAM, in September of 2020. In 2018-2019, she participated in La somme des distances festival – the culmination of a graduate project consisting of 2 exhibitions and 2 performance evenings, which unfolded over 2 semesters. In 2017, in addition to exhibiting her work as an artist, she coordinated Quelques parts, an extracurricular exhibition organized by students. More recently, Raphaëlle had the opportunity to take part in the Les Encans de la quarantaine initiative.
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Artistic approach

Raphaëlle Groulx-Julien’s work plays with fragments of images and materials. The Axis
of Asymmetry project is presented as a constellation of images, each of which appears
to be the same image reflected on either side of a central axis. However, these two
halves can be distinguished by their lighting. A rainbow is generated by refracting light
from the beveled edge of a mirror, resulting in a play of colours and lights. The subject is
a bouquet of flowers, of which only sections are visible in each image pair. This work
examines to how our identity relates to the inverted and fragmented image of ourselves
that is our reflection. Thanks to the near symmetry of body and face, it is almost
convincing – but only up to a point. This process aims to explore in a dreamlike manner
the notions of fragmentation, mirror, identity, and illusion.

The painting projects also presents fragments of materials and images. The latter,
captured with a cellphone camera or by screenshots, are partially reproduced on scraps
of wood or plasterboard. Their selection is based on the compelling dream they evoke,
an idealization or a stylization of reality. This work aims to deconstruct the fantasy
provoked by the image, by contrasting each painted image with the roughness of its
support and to beautify the rough objects with a graceful, meticulously worked painting.
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