... THERE'S SOMETHING OUTLANDISH ABOUT BRINGING THE OCEAN INDOORS

THERE’S SOMETHING OUTLANDISH ABOUT BRINGING THE OCEAN INDOORS

This body of work is part of an on-going dialogue between painting and photography through a layering of registers. As a witness to subtle spatial conundrums, the works in this series are reflections on shifts in distance, immediacy, and time.

SUSPENDED EMULSIONS investigate ways of putting pressure on the viewing experience. Photographs formalized as precisely scaled prints immerse the viewer in the foam-like space of the image. Touching on the challenges of global proximity and distance, they invite us to visually inhabit the materiality of the print surface as well as the landscape of the in-between at the edge of the ocean, making visible a layering of potential planes.

The CAPSULE paintings are like artefacts of time surveillance—forms between monolith and sail.

The oceanic elements in these works put forward an opening for a seeping through of the unseen and the unforeseen. Encapsulated in the encounter between painting and photography is the ebb and flow of the tides, where seeing is defined as much by erasure as it is by presence.

THERE’S SOMETHING OUTLANDISH ABOUT BRINGING THE OCEAN INDOORS

ÉMULSIONS EN SUSPENS recherche des manières d’exercer une délicate pression sur l’expérience visuelle. Sous forme d’impressions à jet d’encre et mis à une échelle précise, celles-ci immergent l’observateur dans une image dont l’atmosphère approxime un espace d’écume. Considérant les défis de proximité globale et de distance, elles nous invitent à habiter visuellement la matérialité de la surface imprimée, autant que le paysage interstitiel bordant l’océan, rendant visible une superposition de plans potentiels.

Les peintures de la série CAPSULE agissent en tant que artéfacts d’une surveillance temporelle – des formes entre le monolithe et la voile.