Marketing Mondays will be back on the 21st. In the meantime, I hope you'll enjoy my accounts of What I Saw This Summer
Yechel Gagnon and Alexandre Masino were my Montreal hosts. They not only put me up, they drove me around the city, so I got much more than a tourist’s eye view of the city. It turned out they both had work on public view in the city, so not only did I get to see art in Montreal, I got to see their art.
And not only did I get to see their art in public, I got to visit their studios. (Gagnon and Masino built a studio behind their home, a light-filled, two-story contemporary box that fits in perfectly with its surroundings. Each artist works very differently, so while their spaces may have the same configuration, each setup is quite different.) .
We begin with Gagnon, who has an enormous permanent installation in the school of Pharmacy of the University of Montreal, above. Gagnon works in carved plywood. Her installation, Osmose, is 12 by 40 feet, installed in the four-story-high center of the Jean-Coutu Pavilion. Viewable from balconies on three levels, it’s the only artwork in the space, which is exactly as it should be—just the architecture and this enormous relief work. There’s a landscape quality to it, like a Japanese brush painting, with a delicacy of line—surprising given the scale and the means by which the work is carved: with a router. The dark passages are the glue used to bind the layers of ply. The fluid quality provides a welcome counterpoint to the rectilinearity of the space.
The corner detail above shows you the surface of Gagnon's work
The just-completed work above is ready for delivery and installation. Note the full-size ink drawing next to it and the maquette on the floor
Masino with a tray of paint in cans (artists who work in encaustic do work differently from oil painters)
The easel, above, and its prodigiously textured surface:
Above, an exquisite still life
This large painting, shown at Boon Gallery in Salem, Mass., in 2005, is from a series called Sanctuaire.