NATURE MORTE no.2 à la dérive
STILL LIFE no.2 DRIFTING
Painted wood frame, metal, oil painting fragment, 14 in x 11 in x 0.75 in, 2020
DRIFTS DRIFTING PHASE II Installation Project. Photo: Paul Litherland

The DRIFTS DRIFTING PHASE II installation project proposes a questioning of human and artistic drift, a theme that Anne-Marie Giroux has been exploring since 2014. Taking a critical and mocking approach to the relevance of the very essence of the art object, the artist also questions the relevance of being an artist and most specifically, the importance of being a woman artist. Composed of three-dimensional works developed with traditional mediums and recovered materials, the installation is presented as a still life, fragmented with multiple « self-portraits » of the artist and her art, adrift.

In the continuity of the DRIFT (2014-2018) and DRIFTING (2017-2018) series as well as the DRIFTS PHASE I installation project (2O19), it is during the Covid-19 confinement of spring 2020 that the artist undertook the creation of the DRIFTS DRIFTING PHASE II installation project. In December 2020, she also had the opportunity to complete an artist residency that allowed her to refine the project and create in situ at Galerie ERGA in Montreal. The artist now plans to present the project publicly.

Anne-Marie Giroux attaches great importance to the creative process. One of the peculiarities of the project comes from a desire to push the practice of painting and sculpture further. She challenges herself to compose with the surrounding material in her studio, whether it is with the oil painting fragments that dried and that accumulated, plasters and cements created for previous projects, materials and objects that have piled up in the studio over the years.

Greatly inspired by the work of Duchamp (transposition of the object into art), Ed Rushcha (conceptual aspect) and Mathieu Lefèvre (questioning and relevance of being an artist), she has created a series of three-dimensional works offering a poetic and minimalist in situ that will be able to transform and recompose itself in the spaces that will host it.

Still life no.2 drifting

FEMME AU CHAPEAU ROSE À LA DÉRIVE (détail)
WOMAN WITH PINK HAT DRIFTING (detail)
Metal flower planter, metal, metal tripod, oil painting fragments, chicken wire, metal tongs, pistachio shells deposited on the ground, 96 in x 54 in x 54 in, 2020. 
DRIFTS DRIFTING PHASE II Installation Project. Photo: Anne-Marie Giroux

The DRIFTS DRIFTING PHASE II installation project proposes a questioning of human and artistic drift, a theme that Anne-Marie Giroux has been exploring since 2014. Taking a critical and mocking approach to the relevance of the very essence of the art object, the artist also questions the relevance of being an artist and most specifically, the importance of being a woman artist. Composed of three-dimensional works developed with traditional mediums and recovered materials, the installation is presented as a still life, fragmented with multiple « self-portraits » of the artist and her art, adrift.

In the continuity of the DRIFT (2014-2018) and DRIFTING (2017-2018) series as well as the DRIFTS PHASE I installation project (2O19), it is during the Covid-19 confinement of spring 2020 that the artist undertook the creation of the DRIFTS DRIFTING PHASE II installation project. In December 2020, she also had the opportunity to complete an artist residency that allowed her to refine the project and create in situ at Galerie ERGA in Montreal. The artist now plans to present the project publicly.

Anne-Marie Giroux attaches great importance to the creative process. One of the peculiarities of the project comes from a desire to push the practice of painting and sculpture further. She challenges herself to compose with the surrounding material in her studio, whether it is with the oil painting fragments that dried and that accumulated, plasters and cements created for previous projects, materials and objects that have piled up in the studio over the years.

Greatly inspired by the work of Duchamp (transposition of the object into art), Ed Rushcha (conceptual aspect) and Mathieu Lefèvre (questioning and relevance of being an artist), she has created a series of three-dimensional works offering a poetic and minimalist in situ that will be able to transform and recompose itself in the spaces that will host it.

Woman with pink hat drifting (detail)

NOCTURNE no.6
Pistachio shells, enameled metal artist's palette, Abitibi birch bark, painted wood base, 20 in x 31 in x 2.5 in, 2021
NOCTURNES PROJECT in progress. Photo: Anne-Marie Giroux

Currently in progress, the NOCTURNES PROJECT will group together a corpus of two and three-dimensional works and a sound environment.

A poetic, symbolic and abstract reflection on life, death, mourning, loss, the feeling of emptiness, but also a will to explore this particular luminosity that we can only perceive through the nocturnal darkness.

Nocturne no.6

NOCTURNE no.5
Oil and tar applied on plexiglass, printing on Mylar paper, 26 in x 18 in, 2021
NOCTURNES PROJECT in progress. Photo: Anne-Marie Giroux

Currently in progress, the NOCTURNES PROJECT will group together a corpus of two and three-dimensional works and a sound environment.

A poetic, symbolic and abstract reflection on life, death, mourning, loss, the feeling of emptiness, but also a will to explore this particular luminosity that we can only perceive through the nocturnal darkness.

Nocturne no.5

NOCTURNE no.4 (détail, detail)
Oil and tar applied on plexiglass, printing on Mylar paper, 26 in x 18 in, 2021
NOCTURNES PROJECT in progress. Photo: Anne-Marie Giroux

Currently in progress, the NOCTURNES PROJECT will group together a corpus of two and three-dimensional works and a sound environment.

A poetic, symbolic and abstract reflection on life, death, mourning, loss, the feeling of emptiness, but also a will to explore this particular luminosity that we can only perceive through the nocturnal darkness.

Nocturne no.4 (detail)

NOCTURNE no.4
Oil and tar applied on plexiglass, printing on Mylar paper, 26 in x 18 in, 2021
NOCTURNES PROJECT in progress. Photo: Anne-Marie Giroux

Currently in progress, the NOCTURNES PROJECT will group together a corpus of two and three-dimensional works and a sound environment.

A poetic, symbolic and abstract reflection on life, death, mourning, loss, the feeling of emptiness, but also a will to explore this particular luminosity that we can only perceive through the nocturnal darkness.

Nocturne no.4 

NOCTURNE no.3 (détail, detail)
Oil,tar, graphite pencil and oil stick on Mylar paper, 53 in x 36 in unframed, 2020
NOCTURNES PROJECT in progress. Photo: Anne-Marie Giroux

Currently in progress, the NOCTURNES PROJECT will group together a corpus of two and three-dimensional works and a sound environment.

A poetic, symbolic and abstract reflection on life, death, mourning, loss, the feeling of emptiness, but also a will to explore this particular luminosity that we can only perceive through the nocturnal darkness.

Nocturne no.3 (detail)

NOCTURNE no.3
Oil,tar, graphite pencil and oil stick on Mylar paper, 53 in x 36 in unframed, 2020
NOCTURNES PROJECT in progress. Photo: Anne-Marie Giroux

Currently in progress, the NOCTURNES PROJECT will group together a corpus of two and three-dimensional works and a sound environment. 

A poetic, symbolic and abstract reflection on life, death, mourning, loss, the feeling of emptiness, but also a will to explore this particular luminosity that we can only perceive through the nocturnal darkness.

NOCTURNE no.3

NATURE MORTE no.3 À LA DÉRIVE
STILL LIFE no.3 DRIFTING
Painted wooden frame of a window for an alley shed, paintbrush, metal, painted wood, oil painting fragments, 25 in x 31 in x 2 in, 2020
DRIFTS DRIFTING PHASE II Installation Project. Photo: Paul Litherland

The DRIFTS DRIFTING PHASE II installation project proposes a questioning of human and artistic drift, a theme that Anne-Marie Giroux has been exploring since 2014. Taking a critical and mocking approach to the relevance of the very essence of the art object, the artist also questions the relevance of being an artist and most specifically, the importance of being a woman artist. Composed of three-dimensional works developed with traditional mediums and recovered materials, the installation is presented as a still life, fragmented with multiple « self-portraits » of the artist and her art, adrift.

In the continuity of the DRIFT (2014-2018) and DRIFTING (2017-2018) series as well as the DRIFTS PHASE I installation project (2O19), it is during the Covid-19 confinement of spring 2020 that the artist undertook the creation of the DRIFTS DRIFTING PHASE II installation project. In December 2020, she also had the opportunity to complete an artist residency that allowed her to refine the project and create in situ at Galerie ERGA in Montreal. The artist now plans to present the project publicly.

Anne-Marie Giroux attaches great importance to the creative process. One of the peculiarities of the project comes from a desire to push the practice of painting and sculpture further. She challenges herself to compose with the surrounding material in her studio, whether it is with the oil painting fragments that dried and that accumulated, plasters and cements created for previous projects, materials and objects that have piled up in the studio over the years.

Greatly inspired by the work of Duchamp (transposition of the object into art), Ed Rushcha (conceptual aspect) and Mathieu Lefèvre (questioning and relevance of being an artist), she has created a series of three-dimensional works offering a poetic and minimalist in situ that will be able to transform and recompose itself in the spaces that will host it.

Still life no.3 drifting

FEMME AU CHAPEAU ROSE À LA DÉRIVE
WOMAN WITH PINK HAT DRIFTING
Metal flower planter, metal, metal tripod, oil painting fragments, chicken wire, metal tongs, pistachio shells deposited on the ground, 96 in x 54 in x 54 in, 2020.
DRIFTS DRIFTING PHASE II Installation Project. Photo: Paul Litherland

The DRIFTS DRIFTING PHASE II installation project proposes a questioning of human and artistic drift, a theme that Anne-Marie Giroux has been exploring since 2014. Taking a critical and mocking approach to the relevance of the very essence of the art object, the artist also questions the relevance of being an artist and most specifically, the importance of being a woman artist. Composed of three-dimensional works developed with traditional mediums and recovered materials, the installation is presented as a still life, fragmented with multiple « self-portraits » of the artist and her art, adrift.

In the continuity of the DRIFT (2014-2018) and DRIFTING (2017-2018) series as well as the DRIFTS PHASE I installation project (2O19), it is during the Covid-19 confinement of spring 2020 that the artist undertook the creation of the DRIFTS DRIFTING PHASE II installation project. In December 2020, she also had the opportunity to complete an artist residency that allowed her to refine the project and create in situ at Galerie ERGA in Montreal. The artist now plans to present the project publicly.

Anne-Marie Giroux attaches great importance to the creative process. One of the peculiarities of the project comes from a desire to push the practice of painting and sculpture further. She challenges herself to compose with the surrounding material in her studio, whether it is with the oil painting fragments that dried and that accumulated, plasters and cements created for previous projects, materials and objects that have piled up in the studio over the years.

Greatly inspired by the work of Duchamp (transposition of the object into art), Ed Rushcha (conceptual aspect) and Mathieu Lefèvre (questioning and relevance of being an artist), she has created a series of three-dimensional works offering a poetic and minimalist in situ that will be able to transform and recompose itself in the spaces that will host it.

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