Amélie Proulx, Gabriel Morest at Circa

Exhibitions: March 14th to May 2nd, 2015
Opening: Saturday March 14th, 2015 at 3 pm

Amélie Proulx: Angles de dérive

Amélie Proulx starts from the premise that clay, before being fired, is endlessly flexible and malleable but then becomes fixed, immutable even. She seeks to restore its original elasticity without ever hiding the durability of its fired state. The artist presents porcelain in various ways to amplify its characteristics, its acoustic qualities, its geological movements; she reveals both its fragility and its flexibility. As a result, Proulx’s work stirs up many metaphors associated with the rich semiotic baggage of her material of predilection: the constant transformation of the world, the mechanics of language, among others.
- Excerpt from Landslide, a text by Anaïs Castro
translated by the author

Gabriel Morest: In the Pit of Idolatry

“Dans le creux de l’idolâtrie (In the pit of Idolatry) forms are reduced to the most purified elements associated with the minimalist movement and the cultural elite, rubbing elbows with rougher, unfinished forms that refer to the so-called mass or popular culture. Various skills come together: from the folk-art, wood carver to the artist forming clay or polyurethane figures, all the while using various industrial techniques for working with wood and steel. The sculptural objects for the most part are covered with layers of paint; thus blurring the specificity of the materials and presenting this very graphic installation like an infinite number of paintings: a colorful composition made visible from a multitude of angles by its very tridimensional nature. Many elements intentionally left in place give a raw, unfinished look to the entire installation, indicating that the artist is not seeking perfection, but wishes rather to affirm incompleteness as an aesthetic principle.”
– Excerpt from Gabriel Morest’s In the Pit of Idolatry, a text by Ève Dorais
translated by Karen Trask

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