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{"id":168717,"date":"2014-05-15T19:00:00","date_gmt":"2014-05-16T00:00:00","guid":{"rendered":"https:\/\/esse.ca\/portfolio\/julie-trudel-jerome-bouchard-sarah-cale-julia-dault-pascal-caputo\/"},"modified":"2023-05-03T19:57:14","modified_gmt":"2023-05-04T00:57:14","slug":"julie-trudel-jerome-bouchard-sarah-cale-julia-dault-pascal-caputo","status":"publish","type":"portfolio","link":"https:\/\/staging.esse.ca\/en\/portfolios\/julie-trudel-jerome-bouchard-sarah-cale-julia-dault-pascal-caputo\/","title":{"rendered":"Julie Trudel, J\u00e9r\u00f4me Bouchard, Sarah Cale, Julia Dault, Pascal Caputo"},"content":{"rendered":"\n

Painting Deployed<\/h2>\n\n\n\n

While the codes of painting, whether figurative or non-representational, have been amply revisited in the last forty years or so, no less productive and fecund research is taking place on how exactly paint is applied. It is as if interest in materiality and application were to directly interrogate the fabrication of the painting and turn the very application of the material into a locus of thought. That, at least, is what I observe among some emerging painters who have attracted particular attention in the last five years and who, in their methodologies, have shown a desire to take a closer look. In their inventiveness, they forgo the painter\u2019s conventional artillery (brushes, spatulas) in order to get closer still to the material, to gain better control over it in some circumstances. <\/p>\n\n\n\n

This approach is apparent in the work of Julie Trudel<\/em>, who pursues an explorative exercise in colour, both optical and material, in which the chromatic is less a concern than coloured matter that comes together in structural motifs, whose shine or matte effects, transparency or opacity, summon the gaze in various ways. A condition that derives from the kinds of drippings and supports chosen by the artist, whose cutaways and angles shape the painting. <\/p>\n\n\n\n

\"\"
Julie Trudel, Flaques 2 et 6, 2012.<\/strong>
Photo\u2009: Richard-Max Tremblay
permission de | courtesy of the artist & Galerie Hugues Charbonneau, Montr\u00e9al <\/figcaption><\/figure>\n\n\n\n
\n
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Julie Trudel, Expansion BNB<\/em>, 2014\u2009;
Croisements T123F123M<\/em>, 2013.<\/strong>
Photos\u2009: Martin D\u00e9silets
permission de | courtesy of the artist & Galerie Hugues Charbonneau, Montr\u00e9al<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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\"\"<\/figure>\n<\/div>\n<\/div>\n\n\n\n

For J\u00e9r\u00f4me Bouchard<\/em>, the slow removal of micro-stencils with a knife expresses an entirely different proximity to the material. Here the image is created by a multi-layered and intermingled network of lines and white gradients. The composition, akin to \u201call-over\u201d and resulting from the application of several layers, is an end in itself and appears for what it is\u200a\u2014\u200ato wit, a series of decisions made in the development of the micro-stencils and in the choice of tonalities of a nearly colourless, chalky-looking, all-but-imperceptible material. <\/p>\n\n\n\n

\"\"
J\u00e9r\u00f4me Bouchard, 102 mg\/m2<\/sup>, d\u00e9tail | detail, 2013.<\/strong>
Photo\u2009: Guy L\u2019Heureux
permission de | courtesy of the artist & Galeries Roger Bellemare et Christian Lambert, Montr\u00e9al<\/figcaption><\/figure>\n\n\n\n
\n
\n
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J\u00e9r\u00f4me Bouchard, 102 mg\/m2<\/sup>, 2013\u2009;
 R\u00e9partition 99<\/em>, 2013.<\/strong>
Photos\u2009: Guy L\u2019Heureux
permission de | courtesy of the artist & Galeries Roger Bellemare et Christian Lambert, Montr\u00e9al<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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\"\"<\/figure>\n<\/div>\n<\/div>\n\n\n\n

While contour lines may draw forms in desaturated hues, it is the very contours of distinct brushstrokes and, more recently, of pieces of canvas that build up Sarah Cale<\/em>\u2019s surfaces. The artist uses collage and carries into her work a material made tenuous in its transfer from one surface to another. For Cale, the materiality of painting becomes a compositional element that manages to fuse drawing and colour, as her work is constructed as much by line as by colourful strokes. She brings the direct application of paint into her latest work and blends the various elements in the development of her paintings in novel ways; combining textures, fabric cut-outs, and geometric forms, her approach in these formal constructions emphasizes the literality of the \u201chandmade.\u201d <\/p>\n\n\n\n

\"\"
Sarah Cale, The Unravel, 2013.<\/strong>
Photo\u2009: permission de | courtesy of the artist & Jessica Bradley Gallery, Toronto<\/figcaption><\/figure>\n\n\n\n
\n
\n
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Sarah Cale, The Uncomposed, 2013\u2009;
Pierced<\/em>, 2013.<\/strong>
Photos\u2009: permission de | courtesy of the artist & Jessica Bradley Gallery, Toronto<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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\"\"<\/figure>\n<\/div>\n<\/div>\n\n\n\n

A similar concern is evinced in the paintings of Julia Dault<\/em>, who applies and subtracts materials using unconventional tools (rubber combs, cotton-tipped sticks, door handles, found objects) and procedures for removal whose effects are to restrict her movement. Despite the distance that they create from the surface, these instruments are wielded by hand, the hesitations and awkwardness of the handling leaving their mark on the canvas. Dault is a strong advocate for transparency in artwork, which, she says, must exhibit the means of its construction. She never mixes her colours, choosing instead to use them as they are on an array of varying supports\u200a\u2014\u200acanvas, silk, linen, polyester, vinyl, synthetic leather, nylon\u200a\u2014\u200aand deals directly with the reactions that the materials arouse. Thus, the whole idea of a response to the materials\u200a\u2014\u200athat is, the \u201cmaking\u201d and the shaping\u200a\u2014\u200ais brought to the fore. <\/p>\n\n\n\n

\"\"
Julia Dault, Iron Maiden<\/em>, 2013.<\/strong>
Photo\u2009: permission de | courtesy of the artist, Marianne Boesky Gallery, New York
& Jessica Bradley Gallery, Toronto<\/figcaption><\/figure>\n\n\n\n
\n
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\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n<\/div>\n\n\n\n
\n
\"\"
Julia Dault, Eye of the Tiger<\/em>\u2009, 2013\u2009; Bad Boy<\/em>\u2009, 2013\u2009;
Downtown Mystic<\/em>, 2013 (sens horaire | clockwise).<\/strong>
Photos\u2009: Daniele Kaehr
permission de | courtesy of the artist, Marianne Boesky Gallery, New York
& Jessica Bradley Gallery, Toronto<\/em><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

As if in response to these traces and inscribed choices, the voids in the works of Pascal Caputo<\/em> are just as revealing of the artist\u2019s presence and of what lies beneath the material. Indeed, the meaning that wells up from the emptiness created in these compositions is less a rejection than an elimination of the subject that brings the formal plasticity of the painting to our attention. The non-painted and the non-material become painted, to some extent; they become a form and a material that we cannot call painting but that we must take into consideration in apprehending the composition. As if what was painted became pretext for the non-painted and, in the end, gave way to it entirely, effectively diverting the \u201cmaking\u201d by choosing to function\u200a\u2014\u200aand to engage our imaginations\u200a\u2014\u200athrough cut-outs and subtraction. In these five cases, the painting as object and as locus of the act of painting is relived in the creative process; as such, it belongs to an aesthetics of gesture, in which resides a prime motif.<\/p>\n\n\n\n

\n
\n
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Pascal Caputo, 546980_10151253859985851_2091027878_n_jpg, 2012\u2009;
99177_1010486073246_1557832302_786633_2736_n_jpg, 2012.<\/strong>
Photos\u2009: Guy L\u2019Heureux
permission de l\u2019artiste | courtesy of the artist<\/figcaption><\/figure>\n<\/div>\n\n\n\n
\n
\"\"<\/figure>\n<\/div>\n<\/div>\n\n\n\n

[Translated from the French by Ron Ross]<\/p>\n

J\u00e9r\u00f4me Bouchard, Julia Dault, Julie B\u00e9lisle, Julie Trudel, Sarah Cale<\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":1303,"featured_media":168049,"template":"","meta":{"_acf_changed":false},"categories":[281,885],"numeros":[4483],"disciplines":[],"statuts":[335],"checklist":[],"auteurs":[3257],"artistes":[3258,3259,3260,3261],"thematiques":[],"type_portfolio":[],"class_list":["post-168717","portfolio","type-portfolio","status-publish","has-post-thumbnail","hentry","category-archive","category-portfolio","numeros-81-being-thirty","statuts-archive","auteurs-julie-belisle-en","artistes-jerome-bouchard-en","artistes-julia-dault-en","artistes-julie-trudel-en","artistes-sarah-cale-en"],"acf":[],"_links":{"self":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/portfolio\/168717","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/portfolio"}],"about":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/types\/portfolio"}],"author":[{"embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/users\/1303"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/media\/168049"}],"wp:attachment":[{"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/media?parent=168717"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/categories?post=168717"},{"taxonomy":"numeros","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/numeros?post=168717"},{"taxonomy":"disciplines","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/disciplines?post=168717"},{"taxonomy":"statuts","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/statuts?post=168717"},{"taxonomy":"checklist","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/checklist?post=168717"},{"taxonomy":"auteurs","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/auteurs?post=168717"},{"taxonomy":"artistes","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/artistes?post=168717"},{"taxonomy":"thematiques","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/thematiques?post=168717"},{"taxonomy":"type_portfolio","embeddable":true,"href":"https:\/\/staging.esse.ca\/en\/wp-json\/wp\/v2\/type_portfolio?post=168717"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}