ON EXHIBIT /
Danielle Tremblay very early made the decision to use an artist's name, first to dissociate herself from the great number of people bearing the Tremblay name in Québec and also to manifest her uniqueness as a creator. "I don't like comparisons, for even if we find commonalities among people or things, nothing is ever exactly the same," states the artist. Her family members having been calling her Danou since childhood, it is an obvious choice to which she adjoins her middle name. Hence not entirely fictitious as it is important for her to be herself and maintain her identity. Though it might seem trite at first glance, this simple merge offers us a glimpse of the two poles that characterise her works, namely the high level of imagination they display anchored in a basic style of figurative realism. Danou, is the unbounded wonder of youth, living in a fantasy world and connected to the very heart of creativity. Lynn, is the more formal setting that defines reality, man and his reflections, as well as the connections with matter.
Although combined at times in quite a motley mix, the elements of composition cohabit rather harmoniously while allowing the spectator to complete the narrative in his own meaningful way. Indeed, Danou-lynn wishes to elicit some kind of reflection by proposing untraceable landscapes, discrete unidentifiable silhouettes, figures hiding behind masks and costumes or remaining in the shadows. She feels it is important to remain somewhat vague, not to dwell in overly concrete imagery, to allow the spectator full freedom to elaborate his own interpretation thus casting fiction in the leading role. It is also a means to get others to participate in the creative process by challenging their personal vision with a framework that is meant to be merely suggestive. "My desire is not to impose an idea but rather to allow all possible interpretations generated by the needs, memories and will of the viewers," In constant joyful mood, she invents festive, musical or meditative scenes where pleasure is omnipresent, be it collective or solitary, happy or tranquil.
Whether conducive to calm or highly dynamic, all of her works are rather dense and harbour a lot of reliefs and colours. Completely self-taught, Danou-lynn developed her technique through trials and experimentations, eventually adopting a style that distinguishes itself by the addition of copper to main shapes and motifs. Ribbons, capillary waves, branches, flowers and foliage are thus graced with metallic accents that catch the light in a labyrinth of interwoven lines. Overtime, the copper contours will become less defined and more flexible. "I wished to be free of all external influences. My artistic sense already well developed, I preferred to be my own teacher. I have now been showing my works since 2000 and I've participated in a good number of symposiums."
Attentive to her own feelings, she invariably begins by selecting a piece of music that will accompany her on repeat all along her creative session. This acoustic intuition will then guide all of her decisions, with no pre-established starting point. After freely applying a quantity of paste on the virgin canvas to build texture, Danoulynn will create relatively abstract backgrounds. Most of her movements will be guided by the colours themselves, per the inner vibrations they generate. The work will complete itself in a confident laissez-faire attitude. When she paints on site, she never reproduces exactly what she sees; although impregnated with the ambiance of the location, the painting will uniquely translate her inner state and not what actually surrounds her. Without totally excluding logic, her approach is essentially linked to her feelings at a given moment. "I love it when people invent stories for themselves, especially when they see something different than I do. The work thus reflects their own history, their own voyage." The colour red has lately stirred her interest, opening up a new path worth exploring.
For four years, Danou-lynn has presided the Association des Artistres Peintres Affiliés de la Rive-sud (AAPARS) whose objective is to help beginning artists find their mark and to build-up the public's awareness and appreciation for Québec artists. "Most people are acquainted with artists that have passed-away. It is quite difficult to gain recognition during one's lifetime," she deplores. Although occupying this function is quite time-consuming, she enjoys the opportunity of being able to exchange with the many members, which otherwise also helps feed her own vision. Art allows her to connect and interact with others, which is primordial in her life. In March, she will participate in an exhibition at the Centre multifonctionnel Francine-gadbois in Boucherville. One of her large scale works will also be displayed on the walls of the Musée des beaux-arts de Mont-saint-hilaire in May 2017.
Art lovers may also visit her website at: www.danoulynn.com.
Moment Présent, acrylic, 24 x 36 in
Détente, acrylic, 9 x 12 in
Music in Paris, acrylic, 24 x 20 in