Revue de presse
Wednesday, November 7, 2001, Brome County News
Sutton artist transgresses two-dimensionalism
Rose Window
The talents of recognized artists, like internationally renowned Michel
Dupont who displays his seductively crafted etchings on handmade paper
and Rita Desourdy’s striking expressionist paintings, stand comfortably
beside the black and whites of photographers Guy Borrowmans and Morrie
Bakerman, and the surrealistic sculptures of Raymon Lacombe.
The exhibit also contains canvases by Mario Cardin, known for his
subtle yet powerful use of colours, jeweller André Prudhumme’s
stunning wood and bronze sculptures, Michèle Bro’s vivid
and provocative pottery sculptures, the tiny acrylic and watercolour
renditions of nature’s gems by Thérèse Huard and
the unique metamorphosing photograph-canvasses of Hélène
Plourde.
But the visitor’s attention is unavoidably and irresistibly drawn
to the unusual and unrestrained paintings by Sutton artist Louise-Andrée
Roberge. Here, not only is the media the message, but the very vehicle
by which the artist transgresses stayed two-dimensionalism.
Roberge’s works on display include three pieces of luggage, an
armoire door and a night stand on all of which she depicts the playful
yet oddly serene characters that circumscribe her style.
“They (the Rose Window) seem to have selected my more romantic
pieces – the more tender and emotional paintings with mother
and child, lovers, women’s encounters and such,” said Roberge.
In ‘L’écuyère’ (the circus rider), a
mystical piece adorning a soft brown leather suitcase, Roberge’s
attraction to the theatrical shines, all the while awakening in the
viewer childhood memories of moments frozen in the mind’s eye.
Also, in ‘Pique-nique familial’, her subtle use of vivid
colours draws the eye to two women conversing as children, barely
discernible in the background, beckon them to come and play.
“You can hear the kids calling ‘Mom, mom, come and play,’
but you know that she will only throw the ball to them every so often,
just like our moms did, and we do too,” says Roberge.
But if her themes smack of realism, her style escapes it. Her depiction
of the human form, although primitive, is too cultured and studied
to be considered naïve. Her method of superimposing time and
actions, while recalling Picasso’s surrealism, remains too structured
to be called such.
So how is Roberge to be categorized? By her post-impressionists brush
strokes or her figurative depiction of characters?
“I love the times in which we live where all forms of expression
in visual arts are allowed and one is not forced to be defined by
a certain style,” says Roberge.
The Sutton artist also loves letting her art tell tales. Roberge explains
that she loves choreographing visual screen plays, making full use
of colourful clothing and attire whose textures conflict and scenarios
depict real people doing real things. Her works somehow captures the
dovetailing of many lifescapes, it’s very much the same way a
photograph freezes a single instant in time.
Not unlike her art, Roberge’s personality is also multi-dimensional.
Self-effacing, directing her sarcasm inwardly and profoundly humorous
during our conversation, Roberge can’t seem to take herself seriously
even if she does her work.
Since completing her formal training at Beaux-Arts in Quebec City
in 1970, Roberge has worked from one end of Quebec to the other.
Be it on antique clock boxes, guitar cases, canvases or triptychs,
it is easy to recognize her work, which she builds u as if engineering
the art itself into life.
“I can’t stand white, so the first thing I do is cover the
media with colour,” Roberge explains. “Then work from the
resulting abstract outwards as the ideas come, adding people in motion
as they appear.
“People tell me to stop painting over and over what they consider
finished art, but I can’t until it’s finished, until it
ends.”
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