Due North ; pénombres


Due North ; pénombres

Pavitra Wickramasinghe - Amélie Brisson-Darveau

23.10 — 21.11 / 2015

Vernissage 23 October 2015 – 17h

This exhibition arises out of a collaboration between Pavitra Wickramasinghe and Amélie Brisson-Darveau which explores image movement by joining two approaches to rhythm and movement, influenced by dance for Amélie and by cinema for Pavitra. The exhibition, which consists of an animation-installation and two series of drawings, is an attempt to confound the gap between new and obsolete technologies, light and dark and space and time.

Due North; pénombres
In the exhibition Titre: Due North; pénombres, the two artists explore the link between cinema and architecture (interior decor, decorations) by investigating panoramic painted wallpaper as a kind of apparatus. Large-format panoramic painted wallpaper for the home (depicting for the most part landscapes) was developed in France and England in the late eighteenth century. At the time, it served to popularise the conquests of the colonial powers and in this way to enable people to travel at a distance. Various scenes covering the walls were juxtaposed in people’s homes and constituted a series of structured images to create continuity. In this sense, the new technology which made it possible to create panoramic wallpaper had an influence on the development of cinema.

The two artists will use these elements to create a video animation based on the idea of panoramic painted wallpaper which can be modulated and adapted to different spaces. The content of the panorama shows an assemblage of landscapes created during residencies in the far north in winter during the polar night. In December 2013, Pavitra was in residence at KIAC (Dawson, Yukon) and Amélie was at USF Verftet (Bergen, Norway).

The Drawings: Line Poem – Alchemy of Light and Geography of Textures

These two series of drawings experiment with the same technique: scratching. Pavrita uses digital technology in Line Poem – Alchemy of Light, while Amélie uses a manual technique in Geography of Textures. In both projects, we wish to blur the gap between the digital and the manual.

Geography of Textures (2015)
In this drawing project, I explore the relations between architecture, geography, the body and darkness. I work to obscure the space between the forms tied to geography and to cartographic semiotics, animal skins, camouflage motifs, architectural motifs and textile structures.

Géographies des textures was inspired by an Italian scratching technique (used principally during the Renaissance and the Art Nouveau period) called sgraffito. This technique for architectural decoration made it possible to bring light into the walls of a stone building by cutting into a cement coating. Out of this idea, I developed a series of animated drawings using ambient light. The meticulously scratched image is squeezed between the two verses [??] of a rotating frame. This enables the light, through the angle of the frame to the wall, to activate the drawings like a slow moving image.

Line Poem – Alchemy of Light (2013)
These works were carried out using automatic drawings done with pencils and paper. They were then scanned and traced to create vectors, transferring the organic hand-drawn lines into straight lines. The vector drawings were engraved on pads of paper using a laser cutting technique. Through this technique, the thickness of the pad of paper and the paper that moves during the process, the final result is a blend of the digital and the organic.

/// Pavitra Wickramasinghe and Amélie Brisson-Darveau /// Exhibition Presentation: Due North ; pénombres /// from Sporobole on Vimeo.


Photographs: Tanya St-Pierre


Amélie Brisson-Darveau lives and works between Montreal and Zurich.  She received her MFA from Concordia University in the Fibres Art program. Before she started her MFA, Amélie completed a B.A. in Visual and Media Art at the Université du Québec à Montréal and received a second BA in Social Work from Université de Montréal.  Amélie is interested in activating the dynamics between composition of movements (from the body or materials), architecture and shadows. Through her installations, performative actions and drawings, she makes these forces emerging and disappearing at the same time. It is through researches and experimentations about textures and structures of (im)materials that she can cut and tie narratives.

Her work has been shown in various exhibitions and events in Canada, United-States, Switzerland, England, France, Germany, Finland, Lithuania, Turkey and Norway. She has received grants from FQRSC (Fonds de recherche sur la science et la culture) and the Canada Council for the Arts and the Emerging Artist Award from the Kaunas Textile Biennale. Amélie is currently working as an artistic research associate at the Institute for Contemporary Art Research in Zurich.

Pavitra Wickramasinghe is a multidisciplinary artist mainly concerned with new ways of conceptualizing the moving image and conventions of seeing. Her practice is guided by wonder and the need to know how things work; to break down motion, videos and screens to their most elementary steps and builds them up again. Her current work is an exploration of notions of traveling, fluidity of place and memory. She uses light and shadows as extensions of the projected image to create installations where the viewer occupies filmic space instead of being physically removed from the work.

Pavitra Wickramasinghe was born in Sri Lanka and currently lives and works in Montréal. Selected exhibitions include: Kinetica Art Fair (UK), SIGHTINGS- Leonard & Bina Ellen Art Gallery (Montréal), Yeosu International Art Festival (South Korea), Centre des Arts Enghien-les-Bains (France), Cable Factory (Finland), Stuttgart Filmwinter (Germany), Centro Cultural del Matadero (Spain), Galerie B-312 (Montréal) and Truck Gallery (Calgary) among others. She is a recipient of numerous residencies, awards and grants including, Art Omi (NY), La Chambre Blanche (Québec), Pépinières Européennes pour jeunes artistes, (Spain), UNESCO-Aschberg Bursaries for Artists Programme, Changdong Art Studio, National Museum of Contemporary Art (South Korea), Canada Council for the Arts and The Claudine and Stephen Bronfman Fellowship in Contemporary Art.

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