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{"id":154589,"date":"2018-05-15T09:30:47","date_gmt":"2018-05-15T14:30:47","guid":{"rendered":"https:\/\/esse.ca\/?post_type=portfolio&p=154589"},"modified":"2026-02-18T13:43:32","modified_gmt":"2026-02-18T18:43:32","slug":"andreanne-godin","status":"publish","type":"portfolio","link":"https:\/\/staging.esse.ca\/en\/portfolios\/andreanne-godin\/","title":{"rendered":"Andr\u00e9anne Godin"},"content":{"rendered":"\n

Through drawing, Andr\u00e9anne Godin translates moments that mark her daily life. Captured with the spontaneity of a mental sketch, these instants are given form through the methodical rubbing of pigment or powdered graphite on paper. Recollected moments and their representation come together as a kind of metaphor for memory. Reality fuels the imagination, and its pictorial interpretation summons a troubling d\u00e9j\u00e0 vu effect. In fact, Godin\u2019s drawings reveal the universality of intimate memories.<\/p>\n\n\n\n

This combination of sensitivities relies on the paper\u2019s sculptural arrangement within the space. Positioned to favour the viewer\u2019s gaze, the drawings form a path through a collective visual culture. Godin explores the architectural possibilities of drawing in ways that contradict or reinforce what is depicted. The brittleness of the medium is reflected in the object\u2019s apparent fragility and engages the viewer in a distinct way. Occupying a space between contemplation and perambulation, the image of ephemerality paradoxically suspends the march of time.<\/p>\n\n\n\n

Godin\u2019s near-ritualistic technique grew out of her meticulous and highly focused process. Her temporal and physical investment in the work echoes the slow settling of elements on which memories are built. Drawing can intercept details that elude direct experience, but that are altered, erased, or revealed by memory. Her series On Our Way To The Border<\/em> depicts anonymous sites, fleeting landscapes, and other everyday textures, like the hazy sketches of the artist\u2019s own history. This play on representation evokes the lifecycle of these images, from their initial assessment by Godin to their surrender in the eyes of the viewer.<\/p>\n\n\n\n

The drawings are linked by their rather monochromatic palette. Godin\u2019s choice of single colours, whether real or simulated through a subtle mix of pigments, gives her renditions a soothing effect. Their rich and varied nuances whisper the images into being. Here, as in her more abstract images, vegetation, skies, and spaces assert their otherness. The volatility of the medium contributes to this uncertainty, and a sudden realization strikes: memory is fallible. Minimalist drawing, in its own way, outlines the discreet gravity of our temporary existence.<\/p>\n\n\n\n

Translated from the French by Jo-Anne Balcaen<\/strong><\/p>\n\n\n\n

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\"Godin_Untitled<\/figure>\n<\/div>\n\n\n\n
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\"Godin_Untitled<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Godin_Untitled<\/figure>\n<\/div>\n\n\n\n
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\"Godin_Untitled<\/figure>\n<\/div>\n<\/div>\n\n\n\n

Andr\u00e9anne Godin<\/strong> Untitled III<\/em>, 2017\u2009; Untitled I<\/em>, 2017\u2009; Untitled IX<\/em>, 2018\u2009; Untitled IV<\/em>, 2018, from the series
On Our Way To The Border<\/em>. \u00a9 Andr\u00e9anne Godin \/ SODRAC (2018) Photos : Trigonix (III, I, IV), Andr\u00e9anne Godin (IX),
courtesy of the artist & Galerie Nicolas Robert, Montr\u00e9al<\/p>\n\n\n\n

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\"Godin_Untitled<\/figure>\n\n\n\n

Andr\u00e9anne Godin<\/strong>
Untitled VIII<\/em>, from the series
On Our Way To The Border<\/em>, 2018.
\u00a9 Andr\u00e9anne Godin \/ SODRAC (2018)
Photo : courtesy of the artist
& Galerie Nicolas Robert, Montr\u00e9al<\/p>\n<\/div>\n\n\n\n

<\/div>\n<\/div>\n
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