• Anthony Burnham
• Jacynthe Carrier
• Peter Flemming
• Pascal Grandmaison
• Nadia Myre
Anthony Burnham, Interposition, 2012, oil on linen, 183 x 143.5 cm. Photo: Richard-Max Tremblay.
Anthony Burnham studied at Concordia University and currently lives and works in Montreal. Burnham’s paintings seem to conjure the question formulated by Jean-François Lyotard: “What to paint?” What is there left for painting to say, today, and how can it say it? Burnham’s work offers much opportunity for reflection on these questions; as they are the products of a painting practice that is, at heart, a conceptual activity. Using diverse techniques, he weaves personal, art historical and formal narratives to explore the many contexts in which painting can be seen and understood. Over the past years he has exhibited his work in Canada, Spain, Austria, and France. In 2008, he took part in the Québec Triennial, Nothing Is Lost, Nothing Is Created, Everything Is Transformed (Musée d'art contemporain de Montréal). In 2009 he was short listed for the RBC painting competition. In 2011 his project titled Even Space Does Not Repeat, circulated between The Walter Philips Gallery and Carleton University Art Gallery. A catalogue accompanied the exhibitions. He is represented by Galerie René Blouin where in 2012 he presented a solo show dealing with gestures of framing.
Jacynthe Carrier, Souffle de la serie de Parcours, 2012, ink jet print, 97 x 99 cm. Courtesy of the artist.
A native of Lévis, Jacynthe Carrier examines, through the use of photography and video, various types of interventions that she carries out in the contemporary scene. She studies the relationship between the body and the environment by producing ephemeral and improbable events where bodies, objects, and gestures come together in performative situations within abandoned territories. Recipient of a Master’s degree from Concordia University, Jacynthe Carrier has presented her work in various individual and collective exhibitions in Quebec (Triennale québécoise 2011, Manifestation d’art de Québec 2008, Musée régional de Rimouski, Centre de la photographie VU, and Galerie de l’UQAM) and on the international scene within the context of video programming (Europe, Brazil, and United States). In 2011, she was awarded the Prix de la création artistique by the Conseil des arts et des lettres du Québec and in 2012, the Prix Pierre-Ayot by the City of Montréal, recognizing excellence new visual arts creations.
Peter Flemming, Canoe, 2000, kinetic installation, Variable dimensions. Photo: Isaac Appelbaum.
Active for over a dozen years, Peter Flemming is a folk machinery artist, doing electronics handcraft ‘by ear’, tinkering intensively and intuitively in the studio. In recent work, the idea of resonance is explored via sound, electromagnetically activated materials, mechanical performers and makeshift amplification devices. Structured, but not scripted, these sound based installations are frameworks or schematics more than pre-determined finished pieces. They involved a large amount of on-site improvisation and vary significantly from implementation to implementation. Past work has included lazy machines, solar powered artwork and hypnotically repetitive automata.
Flemming has exhibited extensively internationally and been the recipient of numerous grants, awards and residencies. An occasional writer and curator, he has produced exhibition texts for other artists, presented papers, organized events and developed lecture series. He is an active board member of several local arts organizations. A graduate of the Ontario College of Art and the Nova Scotia College of Art and Design, Flemming currently lives and works in Montreal, where he teaches electronics for artists at Concordia University.
Pascal Grandmaison, Le jour des 8 soleils, 2011, 8 HD Videos, 5 mins, projections on 8 buildings. Courtesy of the artist.
Pascal Grandmaison (1975) lives and works in Montréal. He graduated from Université du Québec à Montréal with a degree in Visual Arts (1997) and has been a professional artist since the late 1990s. The photographic image and the moving image are central to his artistic practice. His work, which is linked by the themes of time, perception and unveiling of visual production techniques, relates to topics, structures, and tools of the photograph and movie-maker. Through those elements, the artist reverses, shifts, and exposes aesthetic and social conventions that direct our perception. In his refined compositions, Pascal Grandmaison uses the artifice of visual creation by revisiting from an historical and conceptual point of view the notions of progress and utopia inherent to recording of reality techniques.
Nadia Myre, Indian Act, 2002, Indian act, seed beads, thread, stroud cloth, tape, 46 x 38 x 6 cm
Nadia Myre is a visual artist from Quebec and an Algonquin member of the Kitigan Zibi Anishnabeg. Myre is a graduate from Camosun College (1995), Emily Carr (1997), and Concordia University (M.F.A., 2002), and a recipient of numerous grants and awards, notably: Pratt & Whitney Canada’s ‘Les Elles de l’art’ for the Conceil des arts de Montreal (2011), Quebec Arts Council’s Prix à la création artistique pour la region des Laurentides (2009), and a prestigious Fellowship from the Eiteljorg Museum (2003). In 2011 Myre was long-listed for the Sobey Art Award. Myre’s work has exhibited nationally and internationally at numerous galleries and museums including: the 2012 Sydney Biennale, the 2011 Montreal Biennale, Scar Tissue as part of Hide: Skin as Material and Metaphor at the Smithsonian Institute National Museum of American Indian, Gustav Heye Center, New York (2010), It is what it is: recent acquisitions of new Canadian art at the National Gallery of Canada (2010), and Remix: New Modernities in a Post-Indian World at the Art Gallery of Ontario (2009).