PASCALE THÉORÊT-GROULX - BIOGRAPHY
Originally from Gatineau, Pascale Théorêt-Groulx earned a BA with a major in Visual Arts and a minor in Graphic Narrative from the Université du Québec en Outaouais. In 2014, she completed an MFA in Media Arts at Emily Carr University of Art + Design in Vancouver, having received a Joseph-Armand-Bombardier Graduate Fellowship from the Social Sciences and Humanities Research Council of Canada. She has been an artist in residence at the Banff Centre in Alberta, DAÏMON in Gatineau, Pigment Sauvage in Baltimore, the Vermont Studio Center and Fonderie Darling in Montréal. Her work has appeared in several solo and group exhibitions at venues including the Fonderie Darling, the Centre Clark, DARE-DARE and Galerie B-312 in Montréal; Verticale in Laval; Karsh-Masson Gallery in Ottawa; AXENÉO7 in Gatineau; and the ICA in Baltimore, Maryland. She lives and works in Montreal.
11.1 - 12.30
During 2 months, the artist Pascale théorêt-Groulx is in residence to develop the research project "Elle laisse passer le regard même quand elle est fermée".
Before the invention of flat glass, openings in walls were covered with all sorts of materials, such as animal skin, cloth, wood and translucent stone. The transparency that we associate with windows is therefore relatively new in the history of housing. Today, the window represents a threshold between public and private space, an opening onto the world, and evokes notions of community and the social contract – particularly in a city such as Montréal, where windows punctuate the façades of tall buildings. This mosaic of glass reminds us that these seemingly inert masses of stone and concrete are in fact full of life. ‘The window is the space – real, imagined or fantastical – that makes us aware of the unseizable, infinite space that is the world,’ writes essayist Andrea del Lungo. During lockdown, Théorêt-Groulx spent a great deal of time looking out of the windows of her apartment in Ville-Marie. She watched the changes in the weather, the movement of clouds, the comings and goings of blue-collar workers, the drunks in the alleyway, the large tree near the community garden, and, sometimes, nothing at all. She noticed in the distance, behind the trees and small apartment blocks, three tall buildings that she couldn’t identify. After several walks around the neighbourhood, she finally discovered the respective locations of these buildings and what they were used for: a residential and commercial building housing the entrance to Sherbrooke metro station; a seniors’ residence, les Résidences Soleil Manoir Plaza, and a condominium tower.
These three buildings seemed to Théorêt-Groulx to represent different sides of Montréal life: neighbourhood stores, public transportation, the omnipresence of rental accommodation, the aging population, and the property boom. She set out to discover the secrets of these buildings that she sees every day, and to explore their historical, metaphorical, ambulatory, and sensory aspects. Her findings will take the form of material and conceptual experiments exploring ideas around openings, closures, framing, and the interweaving of people, places and sensations.