 Nil posse creari de nib. Lucretius 1. Louis Joncas has been working on this immense series of still-lifes for over a decade now; as of 2004 there are more than a hundred of them.  The Detritus series is an ongoing investigation of Joncas’s material existence, informed by still-life painting and vanitas. The series depicts the detritus of domestic life and everyday survival. It questions rituals and banal chores – such as cleaning, eating, grooming, and consuming – that leave behind an endless trail of detritus.  This article was originally published only in French. No translation is available. Voir aussi l'article reliéMarie-Jeanne Musiol propose un nouveau volet de sa recherche visant à enregistrer l’énergie de la matière par le biais de l’électrophotographie (photographie Kirlian). Prélèvements constitue une plongée dans les champs énergétiques des feuilles de la série Corps de lumière.
 Michael Flomen’s works encompass an abstract, oneiric space that we cannot easily reference, for it is openly ambiguous, hovering somewhere between the dream and the waking moment.
 Seeing light is a metaphor for seeing the invisible in the visible, for detecting the fragile imaginal garment that holds our planet and all existence together. Once we have learned to see light, surely everything else will follow. —Arthur Zajonc1
 This article was originally published only in French. No translation is available. – Read the Abstract Voir aussi le portfolio de l'artisteC’est une évidence de dire que la lumière est objet de fascination pour les photographes. Elle est leur matière première, ce par quoi tout finit par être révélé et, finalement, visible. Elle est ce par quoi le visible, tout visible, est possible. Elle est donc condition première.
By Jacques Doyon Seeing better, seeing farther; disrupting the representation, dissolving it: these approaches seem contradictory. Yet, paradoxically, they hew to a single frontier: that of the visible and representable, that of the limit of our capacity to see and our perceptual expectations.  German photographer Claudia Fährenkemper’s powerful black and white photomicrographs are a contemporary expression of the centuries-old human need to know what lies beneath the surface of things.  An interest in the aesthetic and decorative potential of the photomicrograph was expressed as early as 1858, when an observer noted, “Any one who will look at a set of illustrations of the Diatomaceae or Desmidiaceae will at once perceive the suitableness of many of their forms for decorative purposes.”1
Also see the linked essay
For the past fifteen years, I have been interested in the material agency of both documentary photography and the visual display aesthetics of public advertising, and in how these two forms come together in configurations of urban space to mediate a dialectic of appearances between public and private realms of experience.
 By Howard Ursuliak For the past fifteen years, I have been interested in the material agency of both documentary photography and the visual display aesthetics of public advertising, and in how these two forms come together in configurations of urban space to mediate a dialectic of appearances between public and private realms of experience.  This article was originally published only in French. No translation is available. Voir aussi l'article reliéEntre 1983 et 1990, Robert Pelletier réalise l’essentiel d’une œuvre qui s’illustre par le ludisme de ses actes créatifs et l’agencement sériel de ses photographies. Un tout, viscéral, remarquablement cohérent. Un héritage d’une très grande valeur qui s’inscrit dans la mouvance même du médium, alors jalonnée par la rupture des conventions documentaires et par l’introversion du réel.  This article was originally published only in French. No translation is available. – Read the Summary Voir aussi le portfolio de l'artiste
Par Michel Campeau et Bertrand Carrière Entre 1983 et 1990, Robert Pelletier réalise l’essentiel d’une œuvre qui s’illustre par le ludisme de ses actes créatifs et l’agencement sériel de ses photographies.  This article was originally published only in French. No translation is available. Voir aussi l'article relié
Peut-être rien. La photographie de rien. Des objets. Ceux de la cuisine. Pas même. Seulement le dessous. Le signe de leur encombrement sur le comptoir, l’étagère, la table. Un relevé topologique. Ensemble des duplicata photographiques des surfaces d’encombrement des objets se trouvant dans sa cuisine. Photographies de presque rien, mais livrant tout ce qu’il faut pour… This article was originally published only in French. No translation is available. - Read the summary Voir aussi le portfolio de l'artiste
Peut-être rien. La photographie de rien. Des objets. Ceux de la cuisine. Pas même. Seulement le dessous. Le signe de leur encombrement sur le comptoir, l’étagère, la table. Un relevé topologique. Ensemble des duplicata photographiques des surfaces d’encombrement des objets se trouvant dans sa cuisine. Photographies de presque rien, mais livrant tout ce qu’il faut pour…  A native British Columbian, Allan Edgar has a fine-arts degree from Camosun Visual Arts College in Victoria and currently works and lives in Montreal. He works directly on large-format black-and-white negatives and on his final proofs, using, among other things, selective toning, varnishes, and abrasives.
 Alain Laframboise’s photographic stillevens are imbued with the specific rhetoric of the hyper-codified genre that is still-life: the deliberate placement of inanimate and enigmatic objects; directional, dramatic, theatrical illumination (chiaroscuro);  For me, there is only one criterion for telling if a photograph is good: if it is unforgettable. Brassaï  There is the moon, the darkness, the ghost of industry. André Jasinski photographs urban remains at night. He highlights their grandeur and lonely poetry. And he sniffs out the scourges that shaped them.  There is the moon, the darkness, the ghost of industry. André Jasinski photographs urban remains at night. He highlights their grandeur and lonely poetry. And he sniffs out the scourges that shaped them. |
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