Born in Saguenay-Lac St-Jean, Marie-France Boisvert capitalizes on more than twenty years of experience as a painter and a sculptress. In 1997, she obtained a Bachelor Degree in Design from Laval University, Quebec City and in 2004, she completed another Bachelor Degree in Interdisciplinary sculpture at the University of Quebec, Chicoutimi. Finally, in 2008, she solidified her artistic approach by obtaining a Master’s Degree in Creation from the same university. Now working in Montreal, she continues with the same enthusiasm, accumulating awards, mentions and peer recognition through exhibits in Canada, the United States and Europe.
I create to fulfil my own need to exist…
My work is imagined around the notion of human structure as emotional investigation space. I create a transfer between body, self and the other, between the others and finally the environment. The materiality of the work is retained but its inherent rhythm dissolves, its image crumbles. The canvas gradually exhibits textures reminiscent of sculpting; the notion of painting fades away to let through traces of transition, bursts of light clinging to the surface. I hush the noise of colours. Transparencies shroud the space and blur the vision, forcing the mind to abandon sensory expectations. For instance, timid yet often impertinent whites sweep through the canvass, obscuring all notions of time, all references to space. Remains only the imagining, the impression of a maybe.
Time ephemeris, gathering of temporal segments; the present is not depicted in my work. Only the past, and mostly the future, matter. The present is not represented anymore and merely exists at the birth of the work, therefore rapidly becoming bygone. Time loses its grip, its momentum; it collapses. From what seems as a wandering of thought or a pointless representation arises the necessity to find points of reference. In these material universes of traces, I represent in a troubling way, things and beings in a space of suspended identity. In this play of emulsions, what reveals it self as an assembly of fragile and hesitant shapes is in fact a concrete image confronted to none other than its own imprint or, in other words, to an out-of-sight, out-of-mind attitude to wards a close forgotten relative.
A “mise-en-abime” or deep divide of time, a temporal structure collapse to prompt imperative thought on the part of the viewer, this is what I invest in my artistic design. The work’s image or object transforms itself and opens up to new meaning. The end results are impressions, a sense of “déjà-vu” suggested in the painting.
Spaces and characters transgress the formal reality of perceptions and define new per-ceptive stakes. Therefore, the image’s immateriality, its regression towards the informal, seeks to pushtowards the revelation of its meaning in a way that eases the encounter between artist and viewer. In my creative process, the work’s aspect does not veil the interpretation. The subject asserts it self, and its undefined shapes adjoin the space to grasp infinity.