I work with images, whether photographic, videographic or cinematic.
I hold a bachelor’s degree in cinema and a master’s degree in visual and media arts from the Université du Québec à Montréal. My work has been shown at Galerie de l’UQAM (Montreal), Les Territoires (Montreal), Centre VU (Quebec City), La Bande Vidéo (Quebec City), Back Gallery Project (British-Columbia), Espace F(Matane) and Louise-et-Reuben-Cohen (Moncton).
Along with numerous grants and accolades, I received the PRIM | Dazibao 2015 residency for production and dissemination which I made use of to realize the Machinari video installation, a piece that landed me the CALQ Prize for Work by an Emerging Artist in Montreal. In 2018, I get named finalist for the Pierre-Ayot Award.
Several films for which I was the cinematographer have travelled to festivals everywhere. The Cut and A Colony by Geneviève Dulude-De Celles (Best International Short – Sundance 2014 / Crystal Bear – Berlin 2019 and Best Feature Film – FCVQ and FICFA 2018), Still Night, Still Light by Sophie Goyette (Bright Future Award – IFFR 2017); Pre-Drink by Marc-Antoine Lemire (Best Shot Film – TIFF 2017 and IRIS 2018).
My work oscillates between static image and moving image. I like to create temporal hybridizations so as to develop a different timeframe, one emanating from the image. I question the limits of the photographic image: the blurred areas between stillness and movement, between the haptic and the intangible, between frame and out-of-frame. I am interested in the image’s emotional resonance, the landscape as a proposed inhabitable place, the photographic installation as a space experienced through body.
I work with photography as a screen surface, which has the power to both hide and reveal at once. With the virtual image now being a ubiquitous thing, my interest lies in haptic photography. I seek, through various manipulations—both physical and photographic—to endow the image with a corporeity while hinting at its instability, its fragility. My own presence within the piece—my minimal interventions—becomes a form of appropriation of the chosen location, as well as an appropriation of the medium.
With the spatial arrangement, I want the exhibition space to become an extension of the image. I invite the viewer to enter into it; putting their body in direct relation with it. The image stops being a mere screen sitting in front of us, unreachable, but is now an object we can seize. The performative body—mine or that of the viewer— plays a primordial role, becomes an activation key for the piece. The spatiotemporal plays I develop become subtle mises-en-scène between fictive space and real space, designed to challenge our relationship to images.