Pigment NYC and Toronto

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Pigment is a group photography exhibition that explores the concept of colour through the historical gum bichromate process. Each photographer has two prints in the show, printed by Bob Carnie.

Artists

Lori Ryerson, Linda Kooluris Dobbs, Bryan Helm, Bob Carnie, Shelagh Howard, Thomas Brasch Brendan Meadows, Ian Campbell, Cory Wilyman, Lorraine Parow, Guy Lafontaine, Paulette Michayluk, Janet Holmes, Alan Dunlop, Laura Paterson

*New York April 6 and 7 Bushwick Community Darkroom*

Pigment will pop up at the Bushwick Community Darkroom April 6 and 7 2018. These dates were chosen so that participating artists who wish to visit the city during the exhibition can attend The Photography Show presented by AIPAD.

Facebook event HERE

*Toronto | May 2-June 29 Lonsdale Gallery*

The prints will return to Toronto where they will become a part of Red Light, an exhibition at Lonsdale Gallery. This juried salon show will exclusively feature alternative prints by artists from around the world. Red Light is a feature show in the CONTACT Photo Festival.

Lori Ryerson Gum Bichromate-Prop Plane, Deer Lake

Lori Ryerson

 

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Alan Dunlop

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Thomas Brasch

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In En Transition Spotlight: Guy Lafontaine

In/En Transition

March 1-31 2018  | Opening Reception March 2 | Artist talk March 3

In/En Transition presents an exchange of photography by exhibiting six Quebec artists in Toronto, and six Ontario artists in Montreal, reinforcing a sense of community between the two provinces.

Artists- Toronto- Connections Gallery
André DenisNathalie GarceauJudith BellavanceCaroline HayeurJean-Francois Leblanc, Guy Lafontaine

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How has your process changed over your career as a photographer?

My process has evolved from basic film cameras to medium format to large format cameras. Then to digital cameras, from basic ones to a higher end one. Through all my years in photography, I got to know and use a broad range of cameras and equipment. But I always saw the equipment I use only as tools that allow to bring to life my vision.

Using solely digital cameras for several years now, I see the benefits of ease of use and the bonus of seeing my results instantly. In the film days, any new project had its financial burden, with digital cameras the costs for a new project have gone down and allow me to consider more projects as feasible.

Bio

I have been living and working in Montreal for the last 30 years. Working as a professional mechanical designer for all my whole career, I have an insider’s view of the industrial environments, equipments and un-common places on which I get to intervene, either as a mechanical designer or as a photographer for my personal documentary projects. My dual background allows me to create visually strong and well structured images that can have a meaningful informative side as well.

As a self-educated photographer/curator, I evolved through the various projects that I create, slowly building myself a strong artistic experience along the way. As the american photographer Walker Evans stated, I describe myself as “documentary style” photographer. Subjects that I worked on through the years are: several large manufacturing industries (either about to close and or being drastically transformed), a major paper mill in the closing process, an hotel/convention centre complex being demolished, the largest nuclear bunker in Canada between it’s active and it’s museum period, hydro power plants, downtown store front reflections and various urban landscapes of humble worker’s houses alongside industrial sites, highways, railroads and major power lines.

In En Transition Spotlight: Caroline Hayeur

In/En Transition

March 1-31 2018  | Opening Reception March 2 | Artist talk March 3

In/En Transition presents an exchange of photography by exhibiting six Quebec artists in Toronto, and six Ontario artists in Montreal, reinforcing a sense of community between the two provinces.

Artists- Toronto- Connections Gallery
André DenisNathalie GarceauJudith Bellavance, Caroline Hayeur, Jean-Francois LeblancGuy Lafontaine

Shanghai

How has your process changed over your career as a photographer?
I have been working in documentary photography since the early 1990s, and making the transition to digital is definitely the biggest change I have had to go through. Although the change was a lot of work, I am not nostalgic about silver based photography. I embraced the new technology and started playing with these new possibilities, creating montages, digital patterns, and creating music videos and live multimedia performances. This has allowed me to expand my practice into movement and sound, as well as working in collaboration with multidisciplinary artists.

Bio

The ever-optimistic artist Caroline Hayeur focuses on themes of humanity, emotion and
connections between people through a practice deeply rooted in the present moment. Drawing on her experience of field photography since in the early 1990s, she is interested in concepts of place and home in various forms of relationship: friendship, families and broader communities.
In the spirit of documentary storytelling and humanistic portrait, her work illuminates
surprising connections between subjects through juxtaposition and proximity. Many of her projects began as artist residencies and community art, either in Quebec or internationally.
In 1997, FESTIVE RITUAL: PORTRAITS OF THE MONTREAL RAVE SCENE marked the
beginning of a long-term exploration into the world of nightlife and dance. After it’s exhibition during The Mois de la Photo à Montréal, the show toured worldwide through the FNAC Photo galleries (France, Europe and Asia) for over ten years. FESTIVE RITUAL, TANZ PARTY and later AMALGAT: DANSE, TRADITION ET AUTRES SPIRITUALITES (2003-2007) address the theme of the body-in- movement and have been presented as books, websites and exhibition tours. HUMANITAS, a series of portraits showing extreme emotion from birth to death, is presented several times in Quebec and also in Toulouse (France) during the festival ManifestO in 2013. With ADOLAND, she pursues her voyage in the world of adolescence. Her latest project named ABRAZO return in the field of dance, true the practice of tango from Buenos Aires to Montreal.
Since 1994, Caroline Hayeur has been a member of the Montreal-based Collectif Stock Photo — a group of independent photojournalists. In 2012, the collective celebrated its 25 th anniversary with the exhibition 25 YEARS OF STORIES under the artistic direction of Hayeur, with a dozen photographers presenting retrospective work at the Zoom Photo Festival Saguenay International
Meeting of Photojournalism. She was also Zoom speaker of honour in 2013. Hayeur collaborates among others with the ONF Interractif since the debuts of the studio.
Caroline Hayeur teaches photojournalism at l’École des médias, Faculty of communications at The Université du Québec à Montréal.

In En Transition Spotlight: Jean-Francois Leblanc

In/En Transition

March 2-31 2018  | Opening Reception March 2 | Artist talk March 3

In/En Transition presents an exchange of photography by exhibiting six Quebec artists in Toronto, and six Ontario artists in Montreal, reinforcing a sense of community between the two provinces.

Artists- Toronto- Connections Gallery
André DenisNathalie GarceauJudith BellavanceCaroline Hayeur, Jean-Francois Leblanc, Guy Lafontaine

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How has your process changed over your career as a photographer?

I believe a good image should not only contain information that invites reflection, but also be aesthetically pleasing and trigger emotion. It must be self-explanatory, and not require words. In my practice, photography is a means of recording a scene directly, without artifice. The image is constructed when it is shot, and not subjected to major modifications afterwards. This concept of photography respects the ethics of photojournalism and the documentary process. Subjectivity and creativity are expressed in the choices made and in the very act of photographing and not in subsequent image alteration.

Bio

Jean-François Leblanc has dedicated himself to photography since 1982, when he got his
Bachelor’s degree in Communications at l’Université du Québec à Montréal. He started his career as a photographer while working for many neighborhood community newspapers in Montreal. In 1984, he became the official photographer of Montreal’s International Jazz Festival. In 1987, while working full-time for Le Matin, a new Montreal daily, he decided to create Agence Stock Photo, a collective of photographers committed to photojournalism.
His artistic approach has always been coherent during his career as a photographer. The
recipient of grants from the Canada Council for the Arts and the Conseil des Arts et Lettres du Québec, he has presented, since 1984, many exhibitions on his personal projects at, among others, the Montreal Maisons de la Culture network, and also during the Mois de la Photo period in Montreal. Abroad, his work was presented in Mexico during the Mes de la Foto in Merida, in over forty Europeans cities through the FNAC galleries network and during the Rencontres Internationales de la Photo d’Arles in France. His work can be found in the collections of the Quebec National Museum of Fine Art, the network Accès-culture of the City of Montreal ( PADORAC), the Cirque du Soleil and Post Canada.

In En Transition Spotlight: Judith Bellavance

In/En Transition

March 1-31 2018  | Opening Reception March 2 | Artist talk March 3

In/En Transition presents an exchange of photography by exhibiting six Quebec artists in Toronto, and six Ontario artists in Montreal, reinforcing a sense of community between the two provinces.

Artists- Toronto- Connections Gallery
André DenisNathalie Garceau, Judith Bellavance, Caroline HayeurJean-Francois LeblancGuy Lafontaine

07

How has your process changed over your career as a photographer?
Coming from the painting world, I’ve always been interested in details that only show
themselves under the scrutiny of the observer. This fascination has progressively led me
to using photography to satisfy my curiosity for details, my pleasure in collecting and my
desire to tell. I found and adopted in photography the stance of the witness, which has
significantly expanded the scope my act of creation.
With photopgraphy, my work has developed under two main parts: showing and telling.
By the act of collecting, I can give my attention to small events of which I take
photographs, I then group, classify and file them, thus building a daily repository of
otherness. The act of collecting allows in second time a work on narration. I draw from
my collections and I combine freely and intuitively photographic objects that have a
potential to tell a tale, to which I give the format of small documentaries on the sensitive.

Bio

Born in Rimouski, I have live and work in Montreal.
Throughout my practice, I use the traces of the passage of time on objects and bodies to
address the themes of otherness, loss, absence and desire. By my attention to detail and
my work on the fragment, my approach to photography retains the indexical and
document qualities of the medium.
I completed a degree in Visual Arts at Laval University in Quebec City and studied at the
University of Quebec in Montreal. My work was supported by the Conseil des arts et des
lettres du Québec and the Canada Arts Council. My work has been presented in Quebec,
Portugal, Spain and Japan and is found in many public and private collections.

Artist Spotlight: Lorraine Parow

Through a Lens: Our Female Gaze

February 1-February 28

Opening Reception February 8 | Artist Talks February 10

Through a Lens: Our Female Gaze presents six artists who are telling their stories through the photographic lens. Lisa Murzin, Shelagh Howard, Marlene Hilton Moore, Lorraine Parow, Janet Holmes and Lauren Young share a variety of work for this exhibition hailing from different backgrounds, generations and experiences.

 

Parow_Courage

Statement

“Letting The Girls Fly’ provokes an intimate invitation to explore the individual discoveries in each tiny documentary framed photograph. These tiny images are of posters, hand written by women and placed throughout the woods. They contain simple truths. They are small reminders to be delighted by, and heal through. They are intended to invoke memory, to empower and inspire inclusion. They are positive ‘flash cards’.

How has your photographic process been informed by your experiences

Two stages of major developmental influences inform my photo-based imagery, before college and since college (grad of 1980) Before college (1977) In my life I communed with nature from the beginning, partially because it was so fascinating, ever evolving and utterly captivating and magical. Creation fascinated me. Nature and natural light with it’s endless variations moved me.

As it would be discovered in my mid thirties. Throughout my life I’d suffered from an impairment of my vision, leaving me compensating and working hard to overcome everyday life in a very strained manner. I know now when I reflect upon those decades of difficulty I recognize in hind sight that in fact I knew to find a quiet refuge in nature from the beginning. I developed a profound work ethic to keep up with my eye impairment disadvantage. It would turn out that I learned exceptional discipline on the track team where by our school happen to have an Olympic track coach who would impart his wisdom in such a manner that to this day I continue with much of his methods to make a commitment to gain ‘my personal best’.

In my senior year in high school I was confronted with the decision to further my education with either track or photography. This would require and either/or decision as each advanced education institution would be in different ends of the province. I focused on photography. My education changed my life, it consists of a 3 year photographic arts program, a 3 year advanced digital photography program, a 2 year painting, sculpture, drawing, 3D design program. I admired the real image achieved in the analogue optical format that a camera provided. It gave me the real thing when my eyes could not exactly do so. I set out to create a career in the photographic community since 1980.

This stage two has transformed my sensitivity to colour as a custom cibachrome printer for decades, to light as a location photographer, to the arts an assistant photographic gallery curator and production manager, and to production as a shooter for fantastic clients and magazines and stock agencies. Plus I continued through out these decades fine tuning many bodies of photo-based art work. I was also printing, framing and showing annually in a variety of remarkably diverse and accessible venues.

I continue to have a passion to seek out, to find beauty in the everyday, to create a positive impact, to discover ways to share images and ultimately to stop the moment in someone’s everyday life to create a single pause, a resting moment. I want to interrupt a person’s routine to share a simple moment with an image I’d discovered. It is with the recovery of my eye impairment since the mid 90’s that I enthusiastically embrace the everyday with a renewed sense of this freedom. I just want to shoot, share and celebrate the possibility in the everyday.

Artist Spotlight: Lauren Young

Through a Lens: Our Female Gaze

February 1-February 28

Opening Reception February 8 | Artist Talks February 10

Through a Lens: Our Female Gaze presents six artists who are telling their stories through the photographic lens. Lisa Murzin, Shelagh Howard, Marlene Hilton Moore, Lorraine Parow, Janet Holmes and Lauren Young share a variety of work for this exhibition hailing from different backgrounds, generations and experiences.

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Statement

I think the mark of a good image is if it tells a good story. When I look at these images, I see a story about the relationship between young girls. It’s about the things we go through, the people we love or hate, and the looks we give each other when something interesting happens. I wanted to capture these faces so that I could look back on them and see the differences between ourselves now and then. This project allows me to document such a prevalent time in the lives of the people closest to me as we go through such pivotal shared experiences.

How has your photographic process been informed by your experiences

I photograph the things I see in life, the moments I experience. My goal for every picture I take is to capture an intimate moment shared between me and the subject, this is why having some sort of relationship with the subject is quite important to me. I am constantly trying to have unique experiences with those whom I photograph. Being a teenage girl myself, it makes the most sense for me to take pictures of my closest friends as they go through the same things I am.