indice – objet
Exhibition
INDICE-OBJET
Curation: Julie mercier
Artists: mariane stratis, sylvia trotter-ewens, clara cousineau and isabelle parson.
October 6 to December 30
Free
The exhibition Indice-objet is opening in Rouy-Noranda !
The third exhibition of our project 𝕖𝕤𝕡𝕒𝕔𝕖 𝕤𝕖𝕟𝕤𝕚𝕓𝕝𝕖 will be prensented in front of the University of Quebec in Abitibi-Témiscamingue, at 445 Blvd de
l’Université, from October 6th to December 30th 2022.
Curated by Julie Mercier, the exhibition Indice-Objet will make you discover the artistic work of Mariane Stratis, Sylvia Trotter Ewens, Clara Cousineau and Isabelle Parson, emerging artists in contemporary art.
Espace Sensible is a series of exhibition presented in 7 differents cities all over the province of Quebec. This project aims to showcase emerging artists and shed light on the discovery of visual arts on all the province territory and its citizens.
Espace Sensible is possible thanks to the financial support of the Quebec gouvernement in the context of diffusion of Quebec’s culture.
DETAILS FOR THE OPENING NIGHT COMING SOON!
INDICE-OBJET considers objects as testimonials of the rela-
tionship that humans hWave to their environment. Humans
create objects which, in turn, become part of the environment,
and therefore shape the spaces that host humans—amongst
other species—this process is a continuous feedback loop. The
artists presented here have a practice which brings forward
alternatives to this form of relationality. The object can some-
times be integrated into the environment to help the environ-
ment (Trotter-Ewens). It can become a habitat for other forms
of life (Parson). It becomes a testimony to the physical inte-
raction between bodies and environments (Stratis). Finally, it
can exchange places with humans, becoming a hieroglyphical
fragment through its decontextualization (Cousineau).
Julie mercier
CURATION
JULIE MERCIER lives and works in Rouyn-Noranda. An emerging curator, but first and foremost an artist, her practice spans multiple fields—visual arts, theatre, singing, dance, stage design, circus arts, improvisation—which broadens the perspectives in her primary medium: painting. The impact of socio-environmental contexts and the culture of productivity on mental health is an issue central to her current work.
Mariane Stratis
MARIANE STRATIS is an artist that lives and works in Rivière-du-Loups.
She is interested in how societies manage, process and adapt to grief.
Her practice interrogates various practices related to the event of death, bringing forward questions relating to the body’s future and its fragility. She produces installations which include sculpture, photography, archives, textiles, and performative art. One of her collective projects, “doux soft club”, unravels forms and orchestrates poetic gestures, in
an intimate relationship between space and the body. In “siesta blue”,
protean carpets and modular furniture hide the dust, slide over each
other, absorb stories and become memories. The more forms there are,
the more play there is—the more possibilities there are.
Sylvia Trotter-Ewens
SYLVIA TROTTER EWENS is a Canadian-Honduran painter based in
Montreal, Canada. She creates small to large-scale oil paintings of staged landscapes, which are saturated with images of nature, agriculture, architecture and industries. Walking, observing and documenting are important steps in her creative process. Through a collage of found images, Trotter Ewens creates abstract spaces which depict subtle stories or contemplative observations on our changing landscapes. These changes are linked to climate change, environmental initiatives, urban design and pollution. Her works bring forward many questions—namely, how we can build within these landscapes while
taking into account the environment, how green spaces are integrated into new forms of architecture, and how landscapes are modified to make room for renewable energy and technologies.
Clara Cousineau
Born in Quebec City, CLARA COUSINEAU (elle/she) is a multidiscipli-
nary artist that lives and works in Tiohtià:ke/Montreal. Her work disturbs our perception of mediums. The realm of the domestic—and the symbolic charge of the familiar objects composing it—are central to her practice, as is the body’s relation to its environment. She blurs the viewer’s interpretations by camouflaging and swapping the roles of the elements that constitute her work, operating with a back-and-forth between 2D and 3D. The chromatic neutrality of her compositions accentuates the singularity of the silhouettes of the objects pictured. The accumulation and repetition of these forms also erases their usual function. In doing so, her works become testimonies to acts of détournement and aestheticization, through which the banal
becomes strange.
Isabelle parson
ISABELLE PARSON uses a greenhouse as a studio; a space she has intuitively chosen for its materiality, and the singularity of its fluid, diaphanous light. Her practice is built around photography and lived experiences, notably that of a near-death experience the artist had when she was seven years old. This event is the source of a philosophical breaking point, starting from which she thinks: I am a body, I am flesh, I am a scientific body. It is through a phenomenological and intuitive approach that Parson interrogates her relationship to bodies, space, light and matter. Her use of photography and video leads her to develop a delicate and responsive vision, highlighting a symbiosis in the liminal space where
the organic, the mineral and the synthetic meet. Always conscious of the fragility of existence, she is invested in notions of transition from inert to
living, and the agency of matter.