Magazin'Art - - Summary - Li­sanne Le­tel­lier

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

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