July 5, 2017

Yechel Gagnon



YECHEL GAGNON: PROJECT

CYNTHIA-REEVES

June 3 - July 8, 2017
Artist working on site June 11 - 18, 2017



Yechel Gagnon, Project, installed at CYNTHIA-REEVES 
on the campus of MASS MoCA in North Adams, MA


CYNTHIA-REEVES presents an exhibition of new projects by Canadian artist, Yechel Gagnon. The show runs from Saturday, June 3 – July 8 at CYNTHIA-REEVES, located on the campus of MASS MoCA at 1315 MASS MoCA Way. 


Yechel Gagnon working on site at CYNTHIA-REEVES 
on the campus of MASS MoCA in North Adams, MA



As part of the gallery’s new project initiative, the artist will work on-site from June 11-18, to create a final iteration of works in progress. This will be the first exhibition of the gallery’s new program, which emphasizes both art-making and exhibition. Gagnon will be available to visitors to discuss the works in process, and to demonstrate the handwork and thought process behind her final installations.


Yechel Gagnon : Project


Yechel Gagnon’s close engagement with the textural and tactile qualities of her media serves as the foundation for her inquiry. Projects include plywood bas-reliefs, embossed prints, frottage drawings, cast-aluminum works and large-scale architectural installations.


Yechel Gagnon : Project


Working in mixed-media creates a forum for cross-pollination: she employs tools and techniques devised for unfolding, layering and excavating imagery, incorporating the multiple textures to great effect. Often, the resulting works have a beautiful, unforced reference to the natural world, while communicating an innate tension and dynamism.



Yechel Gagnon : Project


Yechel Gagnon : Project


 Yechel Gagnon : Project


Her most recent works take her process to the next level: Gagnon uses the plywood bas-relief as a beginning point for free-form drawing directly onto the walls, elaborating the lines suggested in the sculptural work and extending them beyond the confines of the material. All at once, the wall-based objects become a nodal point of tremendous activity in the midst of fluid, gestural drawing.


 Yechel Gagnon : Project


 Yechel Gagnon : Project


Yechel Gagnon : Project


Yechel Gagnon : Project


Yechel Gagnon : Project


Yechel Gagnon : Project


Born in Longueuil in 1973, Yechel Gagnon holds a Master of Fine Arts Degree (Studio Arts) from Concordia University and an AOCAD with Honors in Drawing and Painting from the Ontario College of Art and Design. Her works are exhibited in galleries, art institutes, and museums in Canada, the United States, France and China. Her public artworks and exhibitions have attracted reviews by noted critics and curators. Commissions of public artworks have been awarded to her by Bishop’s University, Licorne Theatre, Jean-de- Brebeuf College and the University of Montreal, among others. She is recipient of numerous grants from the Canada Council for the Arts, the Conseil des Arts et des Lettres du Québec and the Conseil des arts de Longueuil. Gagnon’s works are represented in public, corporate and private collections, including the National Art Museum of China (Beijing), 4 World Trade Center (New York), Art Gallery of Nova Scotia (Halifax), City of Montreal, Osler Hoskin & Harcourt Collection (Toronto), and the Gotlands Konsmuseum (Sweden).


 Yechel Gagnon : Project


Yechel Gagnon : Project


CYNTHIA-REEVES represents an international roster of established artists who share a process-apparent sensibility in their work. We are committed to artwork that demonstrates an authentic voice, an innovative use of materials, and an appreciation of the mark in diverse media: site-based installation, video, sculpture, painting and works on paper.

They initiate public art projects in the US and abroad placing large-scale works in the public domain for both permanent and temporary installations, in such locations as New York City, London, Boston, San Diego, Miami, Salt Lake City, Philadelphia, Las Vegas and Dallas.


Yechel Gagnon, Oceanic Legends, 2017, 
carved custom plywood of tinted veneers, 96 x 144 inches



Yechel Gagnon, Oceanic Legends, detail


CYNTHIA-REEVES has galleries on the campus of MASS MoCA in the Berkshires, and in Walpole, New Hampshire, with additional staff offices in New York and Boston. For more information on these artists, please visit the online gallery at CYNTHIA-REEVES.com or call 212 714 0044.



Yechel Gagnon working on site at CYNTHIA-REEVES 
on the campus of MASS MoCA in North Adams, MA



CYNTHIA-REEVES
1315 MASS MoCA Way, 
North Adams, MA

Contact: Kristen Jussila, 
k_jussila@cynthia-reeves.com 
413.398.5257


May 27, 2015

Solo show - Ottawa


Alexandre Masino
La mémoire du présent
 
7 mai - 20 mai 2015
May 7 - 20, 2015
Galerie St-Laurent + Hill 



 Tabla luna, 2015
Encaustique et feuille d'or sur panneau
Encaustic and gold leaf on panel
30” x 48” / 76 x 122 cm


Galerie St-Laurent + Hill est heureuse de vous présenter le plus récent corpus d'oeuvres de l'artiste Alexandre Masino.

L'art d'Alexandre Masino se situe à la frontière de la mimèsis et de l'invention; résultat de l'observation directe, de la mémoire et de l'imagination. La transition entre ces trois types de perception constitue un espace fertile où l'artiste participe à la mouvance du langage visuel comprenant parfaitement que l’art découle de l’art. Le périple entrepris par l’artiste ne se situe pas seulement de par le monde mais à-travers le temps. Le territoire parcouru est le continent de l’art où l'expérience et l'histoire humaine sont fondamentales.



 Synthèse III, 2014
Intaglio & encaustique monoprint sur papier Kozo
Intaglio & encaustic monoprint on Kozo paper
12” x 15.5” / 30.5 x 39.5 cm





Le travail de Masino est tant conceptuel que pictural prenant son sens dans l'expérience physique et dans la perpétuelle métamorphose qui se déroule sous nos yeux. Ainsi, le tableau vu de près offre une réalité tout autre que le même tableau vu à distance, ou encore, réagit et se transforme selon la lumière ambiante éclairant sa surface. Bon nombre de peintres ont parlé de ce moment où la peinture "se lève", "advient" et prend tout son sens. Dans le cas des oeuvres de  Masino ce moment survient lorsque le spectateur prend le temps, face à l'œuvre, de mettre en rapport le sujet et le fond, la lumière et l'ombre, l'image et la surface, et tous ces éléments en relation à l'ensemble.



 Rêves éveillés, 2015
Encaustique et feuille d'or sur panneau
Encaustic and gold leaf on panel
32” x 46” / 81 x 117 cm



 Le creuset du temps (Ehon), 2015
Encaustique, feuille d’or et clous antiques sur livre monté sur panneau
Encaustic, gold leaf and antique nails on book on panel
14.25” x 22.75” / 36 x 58cm


  Le creuset du temps (Ehon), 2015
Détail


 Masino peint à l'encaustique des tableaux où la versatilité, la sensualité et la richesse du médium font contrepoids à une imagerie dépouillée et contemplative. Indépendamment du sujet traité, qu’il utilise le paysage, la nature morte ou le nu, nous pouvons lier ses oeuvres à une certaine “immensité intime”. Son utilisation de l'encaustique, avec sa physicalité, ses transparences et ses empâtements lui permet de créer des oeuvres figuratives de façon à ce que le geste de peindre soit aussi porteur que le sujet représenté. Perpétuel aller-retour entre matière et signifiant, l'inévitable dualisme de la peinture le fascine et par conséquent son travail se concentre sur cet infime instant de transition où ces deux réalités oscillent l'une avec l'autre.


 Évoquer les jours, 2014
Encaustique et feuille de cuivre sur panneau
Encaustic and copper leaf on panel
11” x 12” / 28 x 30.5 cm


La tradition de la nature morte, tout comme la technique de l'encaustique, remonte à l’antiquité; elle recréait alors un monde parallèle aux provisions inépuisables réunies pour assurer la subsistance de l'homme pour l'éternité. Dans un esprit semblable, les tableaux de Masino cherchent à imprégner de puissance et de signification symbolique de simples objets tirés du quotidien. En intégrant à leur facture classique des éclairages multiples, des réflexions d'images, des éléments d'abstraction et une multiplicité d'interprétations possibles dans le rapport unissant la toile à son titre, ces oeuvres tentent de faire une synthèse de la tradition et de la modernité.



 Kintsukuroi, 2014
Encaustique et feuille d’or sur panneau
Encaustic and gold leaf on panel
11” x 12” / 28 x 30.5 cm


Sans chercher le métaphysique à tout prix, mais sans le renier non plus, cette série de natures mortes tente de dégager l'univers matériel de son prosaïsme quotidien. La signification profonde de la peinture n'est pas tributaire du sujet représenté, mais se situe à un niveau plus ontologique: dans la façon même dont chaque coup de pinceau témoigne d'une interprétation et d'une prise de position de l'artiste. Loin de viser un simple illusionnisme, la représentation doit se faire présence, et capter du même coup la plus fugace des émotions. Ainsi, le tableau prend à la fois les propriétés de la matière et celles de l'esprit. De ce fait, la peinture des choses quotidiennes peut devenir une peinture des sens et des mythes.





Galerie St-Laurent + Hill is proud to showcase a new body of work by the artist Alexandre Masino.

Alexandre Masino’s paintings border between mimesis and invention; responding to observed reality, memory and imaginative perception. The transition between what is real, remembered or imagined creates a fertile territory for the artist, fully understanding that art derives from art. The journey undertaken by the artist is not only a journey through the world but beyond time. The continent that we travel is the continent of art where human history and experience are fundamental.



 Simplement, le réel, 2015
Encaustique et feuille de cuivre sur panneau
Encaustic and copper leaf on panel
25” x 40” / 63.5 x 102 cm


Masino’s approach is foremost pictorial and is deeply rooted in the constant metamorphosis inherent to the physical act of looking. A painting must offer many different realities according to the distance from which it is viewed and the ambient lighting hitting the surface. Many painters have evoked this very instant when the painting “rises”, when it “happens” and suddenly takes all its meaning. In Masino’s work this moment may only happen when one takes the time to look and place the subject in relation with the background, the light with the shadows, the image and the surface, and all these elements in relation with the complete picture.



 Lumière silencieuse (chiaroscuro), 2015
Encaustique, feuille d'or et feuille de cuivre sur panneau
Encaustic, gold and copper leaf on panel
48” x 52” / 122 x 132 cm

Masino creates encaustic paintings where the richness, sensuality and versatility of the medium echo a minimal and contemplative imagery. Whether he uses landscapes, still lifes or nudes, we can relate his subject matters to some “intimate immensity”. His use of encaustic, with its physicality, impasto and transparencies, allows him to create figurative works in which the gesture, the actual act of painting, is just as important and meaningful as the depicted subject. In this regard we can feel that he is compelled by the inevitable dualism between matter and meaning that we find at the core of painting. Consequently his work focuses on this infinite moment where these realities oscillate. 





The tradition of still life painting goes back to Antiquity: such artwork was often used to provide endless nourishment to those who had passed away, on their journey to the afterlife. In a similar way, I attempt in my paintings to proceed from everyday objects and endow them with symbolical power and meaning. Multiple light sources, image reflections, elements of abstraction and a multiplicity of possible ways to interpret the connection between the work and its title are used in conjunction with some more traditional techniques to accomplish a synthesis of the past and the present.


 Réminiscences, 2015
Encaustique et feuille d'or sur toile de lin sur panneau
Encaustic and gold leaf on linen canvas on panel
38.5” x 27.5” / 98 x 70 cm


Without actively seeking metaphysical values, but without negating their importance either, these works try to free the material world from its commonplace mundanity. The paintings' signification does not rely on the pictured object but, on a more ontological level, on the way in which each brush stroke conveys an interpretation and a statement by the artist. Far from only aiming at the creation of an illusion, representation here must become presence, all the while capturing the most subtle emotions. Thus, the paintings simultaneously encompass the properties of mind and matter. From that point on, the painting of everyday objects can become a painting of myths and meanings.






Galerie St-Laurent + Hill
293 Dalhousie
Ottawa, ON
K1N 7E5
(613) 789-7145

info@galeriestlaurentplushill.com


Je tiens à remercier chaleureusement le Conseil des arts de Longueuil, pour leur soutien à la réalisation de certaines oeuvres de la présente exposition. 


I would like to thank the Conseil des arts de Longueuil for their support in the production of some of these works. 






April 1, 2014

Solo Show - Calgary

Alexandre Masino
Intimate Immensities

April 3, 2014 to May 3, 2014
Vernissage : April 3, 5 to 8 pm

Christine Klassen Gallery
321 50 Avenue SE, Calgary, Alberta
403-262-1880


 Pérennité (Ehon), 2014
Encaustic, charcoal & antique nails on book on panel
14.25” x 22.75” / 36 cm x 58 cm


 I am presenting a solo exhibition entitled Intimate Immensities, from April 3 to May 3 at Christine Klassen Gallery, in Calgary. The gallery recently moved to an impressive 4600 square foot warehouse location. I haven’t seen the space yet but the images on their website are impressive. I am thrilled to be presenting the first solo show in their new space.
 

Chronos I, 2013
 Intaglio & encaustic monoprint on Kozo paper
12” x 15.5” / 30.5 cm x 39.5 cm


For the first time I am presenting in dialogue, the three different subject matters that have occupied my pictorial thoughts and my production over the last 23 years: the still life, the landscape and the human figure. It has been many years in the coming but returning to the figure after a long pause has always been on my mind. In this show, we’ll see a window opening onto what I’ll be pursuing in the coming years. Working the three main subjects of representation (nature, human and objects of our surrounding) in dialogue with one another is fascinating to me. I see these subject matters like water, ice and mist; they are different but they are the same. In one case we are talking about H2O, in the other we are talking about painting and the human experience of what and where we are.



La grande image I, 2014
Intaglio, gold leaf & encaustic monoprint on Gampi paper
24” x 16” / 61 cm x 41 cm


On a technical point of view, this show is the most complete that I have produced in regards to the scope of techniques that are presented. The obvious link between all of them is the use of encaustic and the playfulness, versatility and the amazing richness and sensuality that the wax brings forth.

I am obviously presenting encaustic on panel as it is my main production. Similar to my previous two solo exhibitions (click here and here), I am also presenting encaustic monotypes and works on mounted books which accompany these larger works. The new addition this time is the introduction of intaglio and encaustic monoprint. I will write a longer technical post on this new technique in the coming months, but here’s a teaser. 



 Le parfum du monde II, 2013
Encaustic, charcoal & gold leaf on panel
11” x 13” / 28 cm x 33 cm


 Synthèse I, 2013 
Intaglio, gold leaf & encaustic monoprint 
on Gampi paper
12” x 15.5” / 30.5 cm x 39.5 cm


 Last Summer I received a grant from the Conseil des Arts de Longueuil to integrate printmaking to my existing use of encaustic monotype. After long months of research, I developed a technique where I engrave plates (copper or Lexan, a type of hard plexiglas) in order to print intaglios on Japanese paper. When I print them, I don’t aim at producing an edition, but rather making them all unique. The inking technique is therefore very painterly and vary a lot from one print to the next. 


 Les êtres étoilés I, 2014
Intaglio, gold leaf & encaustic monoprint on Kozo paper
12.5” x 10.5” / 32 cm x 27 cm


 This technique allows me to achieve fine lines that I later put in dialogue with the physicality of the encaustic monotype. This technique produces works that are all distinct but since they are based on specific plates I can use the same compositional elements and drawing as a starting point. This has always been an objective of mine, ever since I first came in contact with the encaustic monotype technique, thanks to Paula Roland and the International Encaustic Conference. Looking at Edvard Munch’s prints we can see a lot of playfulness in his use of his plates and the variation of effects he achieved by changing the inking process and his colors. This is exactly what I am aiming for with this new technique that is now integrated into my practice. More to come, but in the meantime, if you are in the Calgary area, please do visit the gallery.






September 17, 2013

Solo Show - Montréal


Alexandre Masino 
L'écorce du temps
August 29th 2013 - October 20th 2013
3755 rue Botrel, Montréal, Québec
514-872-2157


L'écorce du temps - Installation view


I am presenting an exhibition in a Maison de la Culture de Montréal, exclusively on landscapes based on observed realities, memories and imaginative perceptions. All of my landscapes originate from actual places that I draw and document, but the real process occurs in the studio. The subjective experience of being somewhere specific is distilled by the memories of these experiences in dialogue with my appreciation and comprehension of art history. As mentioned in my artist statement, the continent that we travel is not only the world that we live in but the world of art history in which human experiences and History are fundamental and constantly quoted.  


L'écorce du temps
  
 
As in my previous show at the R&F Gallery, I am presenting various encaustic techniques in dialogue with one another. The show consist of large paintings on panels, encaustic monotypes on Japanese papers and encaustic paintings on mounted books.  


 Alexandre Masino
 Entre ciel et terre (Ehon), 2013
Encaustic and charcoal on book mounted on panel
14.25” x 22.75”


L'écorce du temps


The title of the show, L'écorce du temps, is poetic and difficult to translate. "L'écorce" means the tree's bark but "l'écorce terrestre" means the earth's crust. As my show embraces both paintings of mountainscapes and Japanese cherry blossoms, the notion of "l'écorce" without specifying to which one I am referring to was a good way to link these series. The notion of time, "le temps", resonates with these subject matters; the cherry blossoms are icons for expressing the ephemeral while mountains are quite the opposite. With the cool and warm colors in dialogue and the subjects referencing to different time realities, the levels of dialogue and oscillations between the interpretations of the paintings are numerous.


L'écorce du temps


L'écorce du temps

 
Denise Poirier, the cultural agent that organized the show received funding to produce a video portrait of my studio practice. Denise did the research and the interview while Eve Tagny filmed and edited the video. They did a great job and produced a beautiful short film that  poetically demonstrates the specificities of encaustic to a wider audience. It is all in French but if you are interested in seeing me working on a painting and explaining my technique feel free to click here to see it with better resolution.


video


 L'écorce du temps