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Démarche ↓ (English below)↓

La recherche de l’á-peu-près:

Ce qui est tangible en regardant ces oeuvres c‘est le faire manuel. On est en face d‘une construction, d‘un système, imaginaire à la trame énigmatique.

L‘engagement figuratif incarne cette narration qui trace la fine ligne entre une structure évidente et complexe. La démarche compose, ainsi, une oeuvre s‘employant à inventer des assemblage inhérents aux sujets et aux formes. Que ce soit par le dessin, l‘objet sculptural, l‘animation ou l‘installation, chaque élément est engagé dans un plus large processus inter-connectif.

Puisant des influences dans le cinéma, la bande dessinée, l‘histoire de l‘art, le design et l‘architecture, ce travail s‘apparente autant à un dépliage discontinu de faits et de situations, qu‘à un récit opaque. Il est d‘une volonté de créer une imagerie perplexe qui soumet un doute au sens de l‘oeuvre. Ce travail donne la forme et l‘élan d‘un récit, le reste est à combler par le spectateur: le sens de l‘uvre naîtra ainsi du travail collectif entre le regardé et le regardant.

On y voit la proposition d‘un autre réel. La lecture de l‘oeuvre prends une nouvelle emapleur grace à sa mise en espace. Traités indistinctement par la même ligne claire, le personnage, la structure, le souple, le solide, le vaporeux, l‘onomatopée, le texte et le mouvement s‘entrecroise sans contexte dans une apparente neutralité surprenante.

Statement ↓ (French above)↑

The search of a nearly:

What is tangible is the apparence DIY. It shows the construction of an imaginary where the meaning is, most of the time, enigmatic. The use of figurative implies a narrative course that follows the fine line between evidence and nonsense. Its a work created by inventing an inherent system from storytellings and the forms. Whether in drawing, sculptur, video or installation, each work is engaged in a broader inter-connective process.

Using influences from movies, comics, art history, design and architecture, the work can be seen as a discontinued unfolding of events and situations, or, again, as a opaque narrative story. His will is to create a puzzled imagery that can leave the viewer in doubt. This work gives the shape and the momentum of a story, but the rest is to be filled by the viewer: the meaning of the work will be fully apprehend as a collective work between what is looked and the one that's looking.

The artist provides, through his work, "another" reality: the object of the images explodes within the staging of it as an exhibition. Treated equally by the same clear line, character, architecture, structure, soft, solid, vaporous, onomatopoeia, text and movement intersects without context in an apparent amazing neutrality.

Curriculum vitea / Resumé ↓

Né/ Born = Montréal, Québec, Canada = 25 avril 1974.
Vit et travail / Live and work = Paris + Montréal.

Formations académiques / Education

2001-2005
Université du Québec à Montréal. Baccalauréat en arts visuels.
2004
École Supérieur des arts décoratifs de Strasbourg Séjour d'étude.
1993-1995
Collège Lionel-Groulx, Ste-Thérèse. DEC en arts-plastiques. Bourses / Grants 2012
Bourse recherche et création Conseil des arts du Canada.
2011
Bourse de déplacement Conseil des arts et des lettres du Québec.
1999
Bourse «Innovation» Conseil des arts du Canada.

Expositions et événements / Shows and events

Individuelle / Solo

2015
«Décors d'intérieur» Galerie Vanessa Quang, Paris, France.
2013
«Pero, yo creo que si» Galerie Clark, Montréal Québec, Canada
2011
«Il est évident qu‘il est déjà trop tard» Galerie Vanessa Quang, Paris, France.
2011
«trickster» Axenéo7, Gatineau, Québec, Canada
2010
«Me maison» Galerie Verticale, Laval, Québec, Canada.
2009
«On y est presque ...» Château de la Roche-Guyon, Roche-Guyon, France.

Collective / Group

2015
Recto / Verso Fondation Louis Vuitton, Paris, France.
2015
«Ut pictura poesis» Espace Sud-Est, Montréal Québec, Canada.
2014
«La Forme animale» GVCC, Casablanca, Maroc
2013
«Inquiétante étrangeté et autres fantasmagories» Galerie McClure, Montréal Québec, Canada.
2013
«Une grande passion partagée: un flirt avec la jeune peinture» Galerie Liliane Rodriguez, Montréal Québec, Canada
2012
«NOIR CLAIR» Galerie Vanessa Quang, Paris, France.
2011
«Supercalifragilistic» Musée d'art contemporain des Laurentides, St-Jérôme, Québec, Canada
2011
«Pages» La maison des arts Georges Pompidou, Paris, France
2010
«A-venir» Galerie Vanessa Quang, Paris, France
2009
«Green Factory» Galerie Vanessa Quang, Paris, France
2009
«Salon du dessin contemporain» Galerie Quang, Paris, France
2009
«Ventes Flash!» Proposé par Un sourire de toi et je quitte ma mère et les Usines Éphémères, Au Point Éphémère, Paris, France
2008-2009
Livres d'artiste «folk / indé / rock» Commissariat de l'Association CÉFÈT, Point Éphémère, Paris, France
Mains d'&œlig;uvres, St-Ouen, France. Salon du livre, Versaille, France. 2007
«(*)Accès illimité» Proposé par l'Association Rizom, à l'Espace Brochage Express, Paris, France
2007
«Allume la lumière, dit-elle....et la lumière s'alluma» Proposé par le Collectif Vacancy, à La Générale, Paris, France
2007
«Difficile de faire ça» Galerie d'art de Créteil, Créteil, France
2006
«Télescopage» Commissariat de Lena Monnier, à la Galerie Quang, Paris, France
2005
«Expo-Sport» Dare-Dare, Montréal, Québec, Canada
2003
«Nuit blanche» CDex, UQAM, Montréal, Québec, Canada
2002
Galerie Verticale, Laval, Québec, Canada

Résidences / Residencies

2011
Axenéo7, Gatineau, Québec, Canada
2011
Parc Saint-Léger hors-les-murs, Pouygues-les-eaux Lycée profesionel et collége Mont Chatelet de Varzy, France
2010
Les maisons Daura, Saint-Cirq-Lapopie, France.

Ateliers / Workshops

2011
École supérieur d'art de Pau, Pau, France

Collections

2011
Artothèque du Lot, Cahors, France

(En anglais seulement)
Liens / Links artsy.net

Martin Lord's Intricate Drawings Picture Inner Demons and Introspective Thoughts.

For the France-based Québécois artist Martin Lord, a great deal of reflection and introspection is essential to the artmaking process. In a vast, ongoing series of works on paper currently on view at Vanessa Quang Gallery in Paris, he brings his inner demons out of the box, as it were, and into the world through graphite drawings, collages and pen-and-ink works on paper.

The exhibition, titled Décor d'Intérieur features more than 50 works, the majority of which Lord made using graphite, an ideal medium for his delicate, freehand lines, and his energetic, fluid gestures. Faceless biomorphic forms based on body parts arms, hands, eyes, feet, and tongues are the most recurring of characters, ghostlike in their ability to appear present and absent at the same time, especially when surrounded by soft waves of graphite crosshatching. In one such drawing, Main-langue (2015), an otherworldly hand with too many fingers emerges out of the gray background, its thumb resembling a tongue hanging eerily to the side. In another series, titled Créature (2015), Lord places eyes on block-like faces with abstract, anthropomorphic bodies, suggestive of pre-Columbian transformational figures seen on ceramics and textiles.

The most figurative works in the show might be Lords ongoing series, Monstre (2015), in which a white figure set against a dark, graphite background, moves, morphs, dances, and swirls, as if set free for a moment until the sun comes up again. References to automatism are felt in the Collection series, in which quick drawings on yellow paper are pinned onto blue boards. They are like insights into a visual language created by Lord.

Throughout much of his work, Lord employs architectural forms, exploring geometry, perspective, color, and shading. In a small group of collage-and-graphite works on paper, large round eyes peek out of fragments of buildings. They are very subtle and mysterious. Are the buildings watching us or is there someone inside? In the present, one cannot help but relate to the idea of being watched wherever we go, making these works perhaps the most salient.

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