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

 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.

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