Lemieux (Lyse)
Un article de la La Mémoire du Québec (2022).
- Artiste visuelle née en 1956.
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Vancouver Special : Ambivalent Pleasures , Vancouver Art Gallery ,Vancouver, British Columbia, Canada : 2016
Lyse Lemieux is a Canadian artist who was born in 1956. Their work is currently being shown at Wil Aballe Art Projects, WAAP in Vancouver. Numerous key galleries and museums such as Birch Contemporary have featured Lyse Lemieux's work in the past. Lyse Lemieux's work has been offered at auction multiple times, with realized prices ranging from 497 USD to 4,935 USD, depending on the size and medium of the artwork. Since 2021 the record price for this artist at auction is 4,935 USD for L'Avenir est Long: A Conversation, sold at Heffel Vancouver in 2021. Lyse Lemieux has been featured in articles for The Art Newspaper and Canadian Art. The most recent article is Art and Architecture Merge on Vancouver's TowersÑbut Is the Cultural Outreach More than Illusion? written for The Art Newspaper in September 2021.
The Contemporary Art Gallery presents a major solo exhibition of work by Canadian artist Lyse Lemieux, incorporating two new inter-related large-scale commissions across the gallery façade and off-site at Yaletown-Roundhouse Station.
Lemieux's artistic practice is often described as one focused on drawing, balanced between figuration and abstraction. Whether working in small (and until very recently, private) notebooks, on sheets of paper, or across the 'page' of the gallery façade and the glass panelled architecture of the Yaletown-Roundhouse Station, Lemieux's working process is inseparable from the forms she creates, which are almost always in reference to the human figure.
At Contempory Art Gallery- CAG, large-scale black ellipses quite literally cover and contain the building, redolent of familiar forms, both revealing and concealing the architecture on which they're displayed. But while part of the artist's composition across the façade might suggest something figural, it equally refers to the body by proxy: through the garments that clothe it, the patterned sections recalling fabric drapes, the design itself wrapping the building. Lemieux is haunted by certain formsÑlike the black tunic she wore throughout Catholic school as a girl, or the pleated skirtÑmotifs that reappear again and again throughout her work. Deeply aware of the significance of clothing, the way it declares or masks our subject positions, constrains and liberates us, the artist thinks like a patternmaker: she sees the body through the cut of a skirt, the slope of a shoulder seam. While the works at CAG appear to hem in the building, suggestive of what and how something is enclosed, by contrast, at Yaletown-Roundhouse Station, the artwork appears pulled back, offering glimpses of what lies behind or underneath.
