Some­where on the 20

Stanstead Journal - - LENNOXVILLE NEWS -

Up­lands Cul­tural and Her­itage Cen­tre is pleased to present the pho­tog­ra­phy ex­hibit: Quelque Part sur la 20 ( Some­where on the 20). The pub­lic is cor­dially in­vited to meet the artists dur­ing the vernissage on Sun­day, Fe­bru­ary 3, be­tween 2 p.m. and 4 p.m. at Up­lands, 9 Speid St. in the bor­ough of Len­noxville. The ex­hi­bi­tion will run un­til March 10, 2013.

For some time when trav­el­ing be­tween Que­bec and Mon­treal, a land­mark cap­tured our at­ten­tion, the Madrid. From a dis­tance, we could see the im­pres­sive di­nosaurs and Mon­ster trucks. Was the Madrid tacky, ugly or out­dated? Per­haps, but de­spite this as­sumed ug­li­ness, the Madrid had its place in our col­lec­tive mind.

Must we, on be­half of mod­ern­iza­tion, de­stroy build­ings, ways of liv­ing, or ob­jects that be­long to the past? The Madrid pro­vokes this ques­tion, be­cause although it was weird in its dis­play, it was pop­u­lar and had per­son­al­ity. Over the years, its char­ac­ter man­aged to keep its sta­tus and main­tain its rep­u­ta­tion. Can we say the same thing of th­ese new build­ings whose ar­chi­tec­ture is based on gen­eral fran­chised styles? Is it on the al­tar of re­newal that we sac­ri­fice the per­son­al­ity or even the unique­ness of some things on be­half of progress.

Through the use of pho­tog­ra­phy, the­ses three Sher­brooke artists: Jean Beau­doin, Jean-François Dupuis and Clemz have de­cided to ques­tion our ten­dency to oblit­er­ate the past and pre­serve this piece of her­itage through their art. Whether you love or hate it, the Madrid was part of our col­lec­tive me­mory. Jean Beau­doin For two years his work has re­volved around Lomography, re­turn­ing to the source of the pic­tures in

low - fi. Beau­doin’s ap­proach thus in­cludes shoot­ing ¨spon­ta­neously¨. With­out any pre­con­ceived idea of the up­com­ing pic­ture, “I am try­ing to im­ple­ment vis­ual vari­a­tions, [which are] un­usual and in­ter­est­ing. My goal is to bring the “viewer” back to the magic and the pu­rity of the moment whether they face it or pass it by”. Jean-François Dupuis

For 20 years, pri­mar­ily through pic­tures, po­laroid trans­fer, and paint­ing, Dupuis has devel­oped a pic­to­rial lan­guage in or­der to un­veil the at­mos­phere within a sin­gu­lar imag­i­na­tion. This sen­si­tiv­ity is in­spired by the sub­con­scious, ex­pres­sion­ism, dream sym­bol­ism and per­sonal ex­pe­ri­ences with scenic im­agery and am­biance., “The theme of dreams is very present in my work, it is of­ten por­trayed by in­ter­pre­ta­tions of am­bi­ent scenes staged through dy­namic com­po­si­tions with a graphic flare”. Clemz

In the era of hy[per]fection gen­er­ated by dig­i­tal pho­tog­ra­phy, Clemz goes to its an­tipode pre­sent­ing blurry; over­ex­posed; poorly cal­i­brated im­ages with sin­gu­lar fram­ing. This pho­to­graphic coun­ter­cul­ture is the essence of his work. Us­ing the foun­da­tions of lomography as his main ap­proach has proven to be the cor­ner­stone of his creations. Us­ing low-fi as his aes­thetic ap­proach, the artist high­lights the am­biance. His works con­sist mainly of in­dus­trial ob­jects, aban­doned build­ings or other ar­ti­facts re­lat­ing to in­dus­try and its prod­ucts. The crude look of his im­ages de­fine his can­vases. Most of his creations are the re­sult of an in­stinc­tive po­et­ico-trash ex­pres­sion com­posed with a feel­ing of aban­don­ment and des­o­la­tion.

Photo courtesy

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