photo de Artiste Sylca 1

 Credit photo Allison Cordner 

Artist’s statement

Popular wisdom has it that each voyage begins within. Also, each voyage allows me to feed my constantly growing appetite for textures, colours, fabrics, wood – all organic materials.

When I walk on city streets, down forest paths, or on ocean beaches, I seek human traces, animal footprints, and secrets buried in the sea. Colour is part of my DNA.

When I paint, I capture the energy of my environment; I immerse myself in it to give rise to human, animal, and plant forms.

Throughout my work, natural elements are side by side. Whether it is fire, found in the “Fuego” collection, or water and its movements, in the “Seen from Above” collection, nature is my main subject. The works transcend the dualities found in nature – strong and weak, cold and hot, evanescent and imposing. And transcending the real is second nature to me.

At home or abroad, I take hundreds of photographs of landscapes and faces. Photographs provide a record for my own memories of places visited. Abroad, I lay down on rolls of paper complete paintings of the country or sketches to finish when I return to Quebec.

I also record sounds and traditional music. Later, in my studio, I will draw on all of these memories to access my pictorial language. For example, when I went to China, I recorded, with his written permission, a young Chinese flautist. I then developed in my studio the “Thread of China” series in the recaptured ambience of that country. I want to transmit on canvas, precisely and accurately, my inner state influenced by an environment that is not my own.

The raw material for my works is mainly acrylic, shaped with knives and Asian brushes. To this are added ink stains. I work from opacity to transparency. I incorporate pigments, sculpt impasto on the canvas, embed gold leaf or bronze chips. In recent years, I’ve been integrating fibres, bristles, fragments of newspapers, rice paper, wood. All of these collages add depth to the paintings.

Recently, I have added encaustic to my approach; this ancient technique is performed with beeswax, pigments, and damar resin.

Often, a graffito that is part of an invented language is placed somewhere on the canvas or paper. This is a calligraphic figure, a gesture that is part of my artistic process. Sometimes the public sees it; sometimes it is concealed.

My work is inscribed in the memory of sounds and places, which accompany each other like pictorial poetry, tactile poetry, enabling the viewer to feel the universal, the beauty of the world.

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