The trompe-l’œil is nested in the time of emergence, the time where the surprise effect leads us to poetic contemplation. It is part of a bitter-sweet seduction strategy motivated by a double game of illusion and disillusionment, truth and falsehood. The exhibition Dans l’intimité du leurre presents installational, sculptural and pictorial works that play with the thresholds of sensory perception and outsmart the senses.—Cynthia Dinan-Mitchell explores the figurative through compositions rich in colour. She creates complex narrative universes through assembly and juxtaposition of objects that are easily recognizeable even though their cohabitation is visually confusing. —In Mathieu Cardin's in situ and seductive installation, the composition equally serves the illusion and misappropriation. The artist is inspired by concept of procession which in the scientific language defines the gradual change of the axis of orientation. —For Kristi Ropeleski, the illusion lies between the seeing and believing to see. And eah time, the paradox of seeing contradicts with that of being. —This double play is also seen with Charles-Antoine Blais Métivier's fascinating explorations. Driven by the technology, precisely the obsession surounding the iphone and the addiction it causes, the artist cultivates the illusion of the haptic. .—Between the projected desire and the deception of the real, the artists invite us into the intimacy of the lure both disturbing and captivating, repulsive yet seductive. Taking the time to find the illusion is having the opportunity to contemplate and critique our society in all its beauty and failures. 

This translation is a summary of the original French version*