Jac­que­line Gos­se­lin

Magazin'Art - - Summary - Isa­belle Gau­thier

The co­lour­ful world of Jac­que­line Gos­se­lin is best de­fi­ned through the im­pres­sion it pro­duces ra­ther than through a de­tai­led des­crip­tion of the pig­ments she uses. Phrases such as ‘ima­gi­na­ry jour­ney', ‘phi­lo­so­phi­cal re­ve­rie' or ‘va­ga­bond moods' seem to more ac­cu­ra­te­ly trans­late her bo­dy of work. En­ter a world of vi­sual poe­try!

Twelve years of in­ces­sant work have pro­vi­ded the Ro­se­mere ar­tist with an in­crea­sin­gly well-de­fi­ned vi­sion and a tech­nique in ac­cor­dance with her ins­pi­ra­tion. Jac­que­line Gos­se­lin re­mem­bers her fa­ther as a skilled draughts­man who en­ter­tai­ned her by tel­ling her sto­ries he si­mul­ta­neous­ly illus­tra­ted. She sat on his knees as an ima­gi­na­ry world ope­ned up to her child's eyes. Her fond­ness to­wards the nar­ra­tive line that cha­rac­te­rizes each of her pain­tings may well be roo­ted in this dis­tant me­mo­ry. Whe­ther ini­tia­ted by ob­ser­va­tion of hu­man be­ha­vior or tra­vel im­pres­sions, each of Jac­que­line Gos­se­lin's can­vases must convey a mes­sage. For example, in her stu­dio, a pain­ting de­picts a flo­wer that is lo­sing its pe­tals which is mir­ro­red with two fi­gures deep in conver­sa­tion sit­ting on a che­cke­red blan­ket squares of which are al­so co­ming loose. The pas­sing of time, the im­prints we leave.

At the heart of her ap­proach, the ar­tist is see­king to strike sen­si­tive chords, to share the hu­man ex­pe­rience. Her sub­jects emerge from her per­so­nal ex­pe­riences; eve­ry­thing that moves her may serve as star­ting point for a new pain­ting. An­cho­red in the present mo­ment, she wi­th­draws from rea­li­ty and ini­tial­ly seeks ins­pi­ra­tion while fa­cing the blank page that is the yet un­tou­ched can­vas. “As if I was ex­pec­ting it to speak to me,” says the ar­tist.

In­tui­tive, the ar­tist fa­vours ma­te­rials that al­low her maxi­mum free­dom. Al­though fa­mi­liar with oil paint, she ra­ther chooses acry­lic for its flexi­bi­li­ty and the pos­si­bi­li­ties it of­fers to ex­plore mixed tech­niques. Ob­jects, prin­ted or sten­cil­led pa­per; the act of discovery trans­forms in­to child's play. “Ad­ding tex­tures in­creases the sense of depth.” While she is a fi­gu­ra­tive pain­ter, some areas of her can­vases leave room for ima­gi­na­tion. A piece of string glued on a span of tur­quoise sea, ca­no­py like shapes or even brushs­trokes re­sem­bling in­cli­ned masts, sug­gest a ma­rine en­vi­ron­ment. Sym­bo­lism is al­ways present, len­ding it­self to the in­ter­pre­ta­tion of who­me­ver care to de­ci­pher its mea­ning. As for ar­tists that ins­pire her, she cites Cha­gall for his ima­gi­na­tion, Gau­guin and Bas­quiat for their in­ten­si­ty of co­lour.

In a for­th­co­ming ex­hi­bi­tion en­tit­led Bet­ween land and sea, warm co­lours will co­exist with cold ones to re­present these two worlds. Aqua­ma­rine do­mi­nates the sea areas of can­vases while ochre and orange co­lours dazzle the land por­tions. Some fif­ty pain­tings will in­vite contem­pla­tion of as ma­ny fan­ta­sy worlds. These pain­tings must be ob­ser­ved wi­thout haste, so they may de­li­ver their well-hid­den mes­sage or pa­rable that will as­su­red­ly re­so­nate

with the ob­ser­ver. Themes va­ry from por­trait to land­scape, the ar­tist ha­ving exer­ted great care to en­sure this event cir­cum­vents “all that makes the world a beau­ti­ful place”.

Jac­que­line Gos­se­lin of­ten writes poe­try to ac­com­pa­ny one of her pain­tings or be part of it, so­me­times in a so­mew­hat ori­gi­nal man­ner such as on the back of this screen in a me­ti­cu­lous­ly pain­ted dream­like scene, her words dis­cre­te­ly sna­king the back of the work. While words re­gu­lar­ly pro­vide ins­pi­ra­tion, working from an im­po­sed theme pre­sents quite a chal­lenge. This ar­tist much pre­fers fol­lo­wing her in­tui­tion and let­ting the pain­ting re­veal it­self. Sket­ching of­fers her an out­let, a mo­ment where constraints di­sap­pear clea­ring the way for pure crea­tion, wi­thout the pres­sure of the can­vas. “Whe­ne­ver I sketch I push aside ex­pec­ta­tions. Sket­ching consti­tutes ground­work, but I try not to think about it. I try to re­lax to fa­vor the free flow of ins­pi­ra­tion.”

With such ri­gour and per­sis­tence, the ar­tist re­gu­lar­ly re­ceives top ho­nours and ac­co­lades from the lo­cal ar­tis­tic com­mu­ni­ty. She was na­med Me­ri­to­rious Ar­tist 2015 by the Rose-art Cor­po­ra­tion, an award pre­sen­ted to the ar­tist ha­ving de­mons­tra­ted the hi­ghest de­gree of pro­gress. Add to this the Ju­ry's prize at the Ter­re­bonne 2015 sym­po­sium (AAAVT sym­po­sium) and First Grand Prize at the Blain­ville-art 2016 ex­hi­bi­tion/contest, two dis­tinc­tions along the sym­po­siums path. She al­so oc­ca­sio­nal­ly ex­hi­bits her works while not of­fi­cial­ly being re­pre­sen­ted in gal­le­ry.

For the time being, Jac­que­line Gos­se­lin's wish is to conti­nue to take plea­sure in pain­ting and crea­ting while pre­ser­ving her free­dom. She per­ceives the evo­lu­tion in her art as being more sty­lis­tic than when she first star­ted pain­ting, dis­tan­ced from true rea­lism in a style she qua­li­fies as se­mi-modern. She is al­so in­ter­es­ted in sculp­ture, ha­ving al­rea­dy tried her hand at it. She would love to fur­ther ex­plore this me­dium. Her per­so­nal ob­jec­tive sim­ply consists of al­ways being slight­ly bet­ter with each new pain­ting.

Le­ver l’ancre

Angle de la côte et du sou­ve­nir

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