{English follows} Je possède une formation en Histoire de l’art, ainsi qu’un Baccalauréat en arts plastiques complété au Nova Scotia College of Art and Design d’ Halifax. En 2005, je suis allée au Japon pour y étudier, l’histoire de l’art japonais & religions japonaises à Sophia University à Tokyo.

Ma pratique artistique s’articule autour du dessin. J’aime le noir et le blanc. Mon objectif est de construire une oeuvre, sensible et puissante, sans l’utilisation (ou presque) de la couleur et qui parlera au spectateur. 

J’ai fait plusieurs expositions solo et j’ai participé à de nombreuses expositions de groupe. 

Mes œuvres font partie de Collections dont Collection Prêt d’œuvres d’art, Musée du Québec, 

La banque d’oeuvres d’art d’Ottawa, Charles S.N. Parent, Lévesque, Beaubien et Geoffrion Inc., Collection Loto-Québec, Collection de Ogilvy Renault, Montréal, COLART et Ville de Saint-Jean-sur-Richelieu.

{English} I have a background in Art History and a Bachelor of Fine Arts degree from the Nova Scotia College of Art and Design in Halifax. In 2005, I went to Japan to study Japanese art history & Japanese religions at Sophia University in Tokyo.

My artistic practice is centred around drawing. I like black and white. My goal is to build a sensitive and powerful work, without the use (or almost) of colour and which will speak to the viewer. 

I have had several solo exhibitions and have participated in many group exhibitions. My work is part of Collections including Collection Prêt d'œuvres d'art, Musée du Québec, The Ottawa Art Bank, Charles S.N. Parent, Lévesque, Beaubien et Geoffrion Inc, Collection Loto-Québec, Collection de Ogilvy Renault, Montréal, COLART and Ville de Saint-Jean-sur-Richelieu.

{English} I have a background in Art History and a Bachelor of Fine Arts degree from the Nova Scotia College of Art and Design in Halifax. In 2005, I went to Japan to study Japanese art history & Japanese religions at Sophia University in Tokyo.

My artistic practice is centred around drawing. I like black and white. My goal is to build a sensitive and powerful work, without the use (or almost) of colour and which will speak to the viewer. 

I have had several solo exhibitions and have participated in many group exhibitions. My work is part of Collections including Collection Prêt d'œuvres d'art, Musée du Québec, The Ottawa Art Bank, Charles S.N. Parent, Lévesque, Beaubien et Geoffrion Inc, Collection Loto-Québec, Collection de Ogilvy Renault, Montréal, COLART and Ville de Saint-Jean-sur-Richelieu.

{English follows}  Ma pratique est le dessin. Je suis attirée par le noir et le blanc. Je dessine de façon intuitive. À chaque dessin, je déroule un nouveau « fil d’Ariane ». Mon objectif est de construire une oeuvre, sensible et puissante, qui parlera au spectateur. 

Mon travail en dessin s’est développé autour d’une recherche basée sur la dualité noir/blanc. Mon défi est de construire une oeuvre forte, sans l’utilisation (ou presque) de la couleur. 

Je suis inspirée par l’art du Sumi-e qui signifie, en japonais, dessin ou peinture à l’encre. Dans ce type de peinture monochrome, le trait au pinceau est exécuté avec vigueur et spontanéité sur la feuille (washi). Aucun repentir n’est possible. En plus de la sobriété et de la spontanéité, l’artiste doit composer avec l’équilibre des vides et des pleins tout en gardant l’oeuvre vivante.

L’équilibre des éléments positifs et négatifs dans l’espace pictural me fascine. Je tente de l’obtenir en m’inspirant de la notion du « MA » qui signifie, en langue nipponne, intervalle ou vide permettant de rehausser couleur et son.

Le dessin est pratiqué depuis la nuit des temps. De même que les gens qui dessinèrent leur environnement à Lascaux, je cherche à évoquer le mien plutôt qu’à l’illustrer avec exactitude.

Chaque dessin, chaque série me permet d’expérimenter sur de nouveaux supports:. papier, tyvek, washi, photographiques imprimées au jet d’encre sur papier chiffon. 

Mon but demeure de questionner le monde qui m’entoure, d’entrer en contact avec l’autre et de partager ma réflexion avec le spectateur. 

À cet effet, je cite l’écrivain André Gide, dans son avant-propos de Paludes, qui parlait de « la part de Dieu », de cette part d’inconscient qui existe dans une oeuvre d’art, de ce « plus » que son auteur y a mis et qui n’est divulgué qu’à la lecture de l’oeuvre: 

« Attendons de partout la révélation des choses; du public, la révélation de nos oeuvres ».

{English}  My practice is drawing. I am attracted to black and white. I draw intuitively. With each drawing, I unroll a new “breadcrumb trail.” My goal is to build a work, sensitive and powerful, that will speak to the viewer. 

My work in drawing has developed around research based on the duality black / white. My challenge is to build a strong work, without the use (or almost) of colour. 

I am inspired by the art of Sumi-e which means, in Japanese, drawing or painting with ink. In this type of monochrome painting, the brush stroke is executed with vigour and spontaneity on the sheet (washi). No repentance is possible. In addition to the sobriety and spontaneity, the artist has to deal with the balance of the empty and full while keeping the work alive.

The balance of positive and negative elements in the pictorial space fascinates me. I try to achieve it by taking inspiration from the notion of “MA” which means, in Japanese language, intervals or emptiness allowing enhancing colour and sound.

Drawing has been practised since the beginning of time. Just as the people who drew their environment in Lascaux, I seek to evoke mine rather than illustrate it exactly.

Each drawing, each series allows me to experiment with new media: paper, tyvek, washi, inkjet photographs on rag paper. 

My goal remains to question the world around me, to make contact with others and to share my thoughts with the viewer. 

To this end, I quote the writer André Gide, in his foreword to Paludes, who spoke of “the part of God,” in this part of the unconscious that exists in a work of art, in this “more” that its author has put into it and which is only revealed when the work is read: 

“Let us wait for the revelation of things from everywhere; from the public, the revelation of our works.”

{English}  My practice is drawing. I am attracted to black and white. I draw intuitively. With each drawing, I unroll a new “breadcrumb trail.” My goal is to build a work, sensitive and powerful, that will speak to the viewer. 

My work in drawing has developed around research based on the duality black / white. My challenge is to build a strong work, without the use (or almost) of colour. 

I am inspired by the art of Sumi-e which means, in Japanese, drawing or painting with ink. In this type of monochrome painting, the brush stroke is executed with vigour and spontaneity on the sheet (washi). No repentance is possible. In addition to the sobriety and spontaneity, the artist has to deal with the balance of the empty and full while keeping the work alive.

The balance of positive and negative elements in the pictorial space fascinates me. I try to achieve it by taking inspiration from the notion of “MA” which means, in Japanese language, intervals or emptiness allowing enhancing colour and sound.

Drawing has been practised since the beginning of time. Just as the people who drew their environment in Lascaux, I seek to evoke mine rather than illustrate it exactly.

Each drawing, each series allows me to experiment with new media: paper, tyvek, washi, inkjet photographs on rag paper. 

My goal remains to question the world around me, to make contact with others and to share my thoughts with the viewer. 

To this end, I quote the writer André Gide, in his foreword to Paludes, who spoke of “the part of God,” in this part of the unconscious that exists in a work of art, in this “more” that its author has put into it and which is only revealed when the work is read: 

“Let us wait for the revelation of things from everywhere; from the public, the revelation of our works.”