Marie-Claire Blais – Inner Horizons

Caroline Cloutier – Fragments

 

March 11 to May 23, 2021

Marie-Claire Blais, Days Go By, Far Behind the Eye, 2021

 

As agreed, and despite the upsets of the pandemic which intruded on the presentation of the first part of their joint residency, Marie-Claire Blais and Caroline Cloutier return now to the Foundation to complete their pact.

This time, it’s Marie-Claire in the lead role, after launching her sound piece From left to right, in marble and in wood last spring in the bank vault, the site where Caroline will now be confined, in turn, to set up new photographic experiences.

Marie-Claire Blais : Inner Horizons

We have to constantly balance
the vanished horizon and the imagined horizon
– Roland Giguère

The artist told me that these two lines by Roland Giguère kept haunting her during the conception and execution of her installation in the main gallery of the Foundation. She was aware, at the same time, that the perspective angle was far from a favourite motif in Molinari’s work. And even less two perspective angles superimposed…

Marie-Claire Blais’s sculpture calls on all the architect’s skills at her disposal; it takes the form of two perspective angles, each passing in a straight line through vertical elements judiciously placed and repeated so as to mark the progression of the perspective until it reaches a vanishing point at the horizon. The two angles meet exactly in the middle of the gallery. A comment made by Serge Murphy regarding the artist’s drawings comes to mind: “We’re dealing here as much with a deconstruction in progress as with a construction in the making.”

The spirit of Molinari can clearly be found in the repetition of a vertical motif and, more subtly, in the reference to the Mondrian painting (Pier and Ocean #9, 1915) that was one impetus for this polysemous project. Finally, the structure, which evokes a beautiful yet austere drawing in space, will be placed on a large coloured rectangle, formed of strips of canvases “ordered in a certain way” so as to suggest an abstract landscape or bits of sky. All these things prompt the viewer-walker to reflect on the function of the two perspective angles, which do not simply underpin the vertical elements …

Caroline Cloutier : Fragments

“In my works,” states Cloutier, I offer spaces to project what one wishes.” This exercise goes smoothly when her highly refined images, utterly irreproachable in technique, are presented in the sobriety of white-cube spaces. But Molinari’s old bank vault, with its considerably dilapidated walls, carefully preserved, presents a quite different space, and for various reasons. Under such conditions, there will be no continuity between the image and what lies beyond its frame, in particular because Caroline Cloutier is currently working with frosted glass plates, very sensitive to light, and her works are more delicate and stripped-down than ever. She presents two works in the space, on large sheets, unframed, and suspended along the walls. These aseptic compositions are provided generous margins, as if to create a zone of silence between them and the capricious, psychologically charged space of the vault. A beautiful dialogue in perspective…

Caroline Cloutier, Trois verres, 2021