Jacinthe Loranger
Ceux qui ont connu un Armageddon savent sûrement qu’il vaut mieux ne pas en créer un autre
Jacinthe Loranger lives and works in Montréal. She has had several exhibitions and benefited from artist residencies across Canada, France and the United-States. In recent years, her work has been presented at La Maison des artistes visuels francophones (Winnipeg, 2015), Galerie FOFA (Montréal, 2015), Engramme (Québec, 2016) and Galerie ODD (Dawson, Yukon, 2016). In 2016, she was also awarded a Research and Creation Grant and a Manitoba Residency Grant from the Conseil des arts et des lettres du Québec. She is currently completing a Master’s degree in Visual Arts at Concordia University where she received the Faculty of Fine Arts Entrance Scholarship and the Concordia University Graduate Fellowship. This exhibition will finalize her master’s project.
Galerie B-312 is pleased to begin its 2017 season with Ceux qui ont connu un Armageddon savent sûrement qu’il vaut mieux ne pas en créer un autre*, the latest Jacinthe Loranger’s exhibition. The artist continues her research on still life and vanities by associating the allegories of the brevity of life, death and progressive degradation of flesh with kitsch, fast food and more generally our way of life axed on the consumption. If in traditional hunting still lifes, the violence of the hunter’s gesture is lessened by a neat composition and pictorial refinement, here it is not. Most of the animals she presents to us have not been killed to end up among victuals of a noble and abundant table, it is rather accidental deaths, Roadkills. She chooses instead to play a tinkered, colourful and and joyfully unbridled aesthetic. The scraper takes over the brush. In the creation of paintings halfway between bas-relief and papier mâcher, screen-printed paper is transformed into a painters’ palette. On the ground, paper installations and life-size sculptures connect the painting universe to ours. The collage here is both a working technique and a creative motor allowing the superposition of materials, but also images and icons. Chained butterflies, portrait of theoreticians, ashtrays with butts, hot dogs, flies and crows accompany the dead animals in a game of shift where the question of meaning is seen through the juxtaposition, the deconstruction and the reconstruction of signs without hierarchy of the images. The title, humorously, indicates that numerous doomsdays are possible, but that the hope is to avoid them!
– Original text in French by ISABELLE GUIMOND
* The origin of the term Armageddon come from the New Testament. It is a mount in Galilee where the ultimate fight between good and evil would take place. The expression has entered in the popular language to define any situation likely to end in an apocalyptic way. The theme has been widely used in Hollywood cinema.
Jacinthe Loranger lives and works in Montréal. She has had several exhibitions and benefited from artist residencies across Canada, France and the United-States. In recent years, her work has been presented at La Maison des artistes visuels francophones (Winnipeg, 2015), Galerie FOFA (Montréal, 2015), Engramme (Québec, 2016) and Galerie ODD (Dawson, Yukon, 2016). In 2016, she was also awarded a Research and Creation Grant and a Manitoba Residency Grant from the Conseil des arts et des lettres du Québec. She is currently completing a Master’s degree in Visual Arts at Concordia University where she received the Faculty of Fine Arts Entrance Scholarship and the Concordia University Graduate Fellowship. This exhibition will finalize her master’s project.