 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 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.
 Born in Creston, British Columbia, Loren Williams studied photography at David Thompson University, B.C., and at Concordia University, Montreal. For several years, her work has been closely tied the “found objects” that she collects and arranges according to a personal taxonomic system.
 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  Marie-Jeanne Musiol’s images invest the territory of invisibility by inscribing subtle traces of emanations on their surface – more precisely, the luminous emanations commonly known as “auras.” These auras, once sunk deep into the secret of their own invisibility, have been revealed thanks to the Kirlian apparatus, a vision-enhancing machine that unveils, through electrical impulses, the sheath of energy that surrounds substances.
 This article was originally published only in French. No translation is available. Voir aussi le portfolio de l'artisteAu lieu de la célébration, la photographie n'offre que les fines feuilles déjà fanées de la desquamation du réel en deux dimensions. Pourtant, ils sont nombreux celles et ceux qui persistent au regard des secrets à porter toutes sortes d'objets à représenter sur cet autel imparfait. By Robert Legendre For more than ten years, Ginette Bouchard has been exploring, within her artistic photographic research, old techniques such as platinum/palladium proofs. Curiously, the artist's attraction to old techniques has led to a profound interest in computer technologies in visual art. She takes pictures of the elements of her images using the usual photographic procedure.  William Eakin is interested in what he refers to as cultural shards, or objects that inform of a popular culture whose aesthetic values are looked down upon by people with "taste."
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