Véronique Chagnon Côté’s painting process is an exploration of phenomenology of our perception of space. "The current era may be more like the era of space. We are at the time of the simultaneous, we are at the time of juxtaposition, at the time of the near and the far, side by side, of the dispersed." Hatching of images which sometimes disappear within a click, ubiquity of temporalities, permanence and evanescence of places and experiences, space slips through our fingers, impossible to trap, except perhaps through the practice of painting. Thereby, Véronique Chagnon Coté favors the concept of landscape as a genre in painting in order to decompose certain archetype of our reality linked to space. Her goal is to create images documenting our synchronic era while reversing the ear of time, that is, taking the time to stop, linger, solve the logic of the painting.
Véronique Chagnon Côté is a Montreal artist who recently graduated from Concordia University’s Master of Fine Arts program (2016). Her work focuses on exploring the phenomenology of our perception of space in painting. Her work has been the subject of several solo exhibitions, including Petites pièces at FOFA Gallery (Montreal), Vous êtes ici at CIRCA art actuel (Montreal), Méandre at Zalucky Contemporary Gallery (Toronto) and Espaces incertains at Galerie B-312 (Montreal). Some of her works have been presented in group exhibitions such as 3D and OG KUSH with Alfa Gallery (Miami, USA), the Velvet Ropes Project (Copenhagen, Denmark), Le jardins des spéculations at articule (Montreal) and Ignition 9 at Leonard & Bina Ellen Art Gallery (Montreal). She was the recipient of the Dale and Nick Tedeschi Studio Arts Fellowship (2014-2015) and the Elizabeth Greenshields Foundation Fellowship (2020). Her work can be found in many private and public collections, including La collection Prêts d’œuvres d’art du Musée national des beaux-arts du Québec.
 Michel Foucault, Dit et écrits 1984, Des espaces autres (Lecture at the Cercle d'études architecturales, March 14, 1967), in Architecture, Mouvement, Continuité, n°5, October 1984, pp. 46-49.