MICHELINE LANDRY


My work has substantially evolved on wood piece bases throughout
several materials from film paper, textured cardboards, fine or strong
lengths of canvas and embattled heaps.

I interfere with these supported materials in several ways; with oil
painting and pencils, constantly adjusting coating and leaning, seeking
the impressions created by prints of lost traces.

I’m often inspired by the most imperceptible details; a very single stain
or merely a shadow traced in spotless forms or even a word that makes
a vision engage the speech in some sort of crumb shoving. Meaning by
this I’m longing from small to reach the ultimate sense of hugeness. In
its essence, relished materials are baring me to oppose subjects or lead
them to visual according playfulness.  Abstraction and reality can
dance along since the quest is orchestrated by pushing imagination
boundaries and reluctance between these reunited dimensions.

The unspoken and invisible are captivating me. Meanwhile, the most
interesting part is the feeling towards this capacity of bringing alive an
abstracted vision and yet arouse an esthetical imply question.

In all forms, time is my greatest concern; fragile, constantly moving,
evolving, sensitive with compact moments and out of time playful
perceptions above all...   

I’m currently getting started on a new scale that conducts me to relish
a very whimsical definite space that only implies pencil traces,
opposing or contracting that space to another, questioning the gesture
itself.