Contours

Time is a compelling and elusive phenomenon, something that is undeniably, consistently present and inescapable, and yet always invisible and indefinite. We know that it passes, that we are lodged within it, but we can only ever see its effects, its contours, and never the thing itself. Time and space — how they might be experienced and made visible, their relationship to different kinds of systems and structures as well as to physical awareness and creative process — can be seen as central to the work of Canadian artist Josée Dubeau.

Dubeau’s work often takes the form of large-scale, site-specific installations that raise questions about space and how the human body moves through it, how we experience interiors and exteriors, presences and absences, volumes and voids. In each case a model or schema is adopted to provide rules, units, or systems by which the final structure will be ordered. The artist’s reference points are never arbitrary or entirely self-referential, but rather, recognizable touchstones of the contemporary world ranging from Rorschach blot tests (Dédoublement, 2008) to the generic architecture of public spaces (Espacement, 2004 – 5), and from IKEA home layouts (La Garçonnière, 2006) to Charles and Ray Eames’ model homes (La vie dans un cerf-volant, 2009). Elaborately built from thin pieces of wood (half-inch square pine batons) joined at precise geometric angles, the constructions seem to be both solid and transparent tracings, or diagrams, of themselves: representations of familiar forms and structures then made alien through Dubeau’s use of medium and visual language — empty balconies that one cannot step onto (Pavillon, 2008); patio furniture that would break if used (Suburbia, 2007); walls that are physically impenetrable but through which can be seen the other side. Earlier non-baton-based work similarly relates to the architecture of public space, albeit with more of an interest in social alienation, failed or impeded communication: turnstiles to nowhere (Les Éoliennes, 1997); conference tables with chairs lodged within the centre (Le Procès, 1992); or, with glass panels separating each seating place from the others, like individual yet connected ticket booths (La Table Ronde, 1994).