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Denis
Larouche AOCA
(Alumnus of
the Ontario College of Art & Design)
ARTIST'S
STATEMENT - Followed by an interview with Marina Cutler, of Gallery
AvenueArt Studio 10, in Montreal.
"...
as though to let him know that creation was
only
the
product of a dance of atoms ...
Umberto
Eco, The Island of the Day Before.
"The
Sky and the Earth are as old as I am,
and
the thousands of things are one."
Zhuang
Zi, circa 300 B.C.
I
am fascinated by the idea, in physics, that light, matter and energy can be
one and the same. That they originate from a single source. This concept
influences the way I see the world and the way I paint.
Because
at the molecular level there is no real difference between solid, liquid and
gas, between a tree and a man, the notion of distinct
physical entity loses its meaning. Water, air and earth are made of the
same elements and there is no clear separation, “…only a dance of atoms…”.
In this way, the object-subject becomes a point of reference. But it only
defines the space surrounding it, giving it meaning. The treatment of this
space becomes a search in itself.
In
the process of deconstructing and reconstructing matter and space, how many
ways can the artist interpret a sky, water, or the earth? Because its very
nature implies change, we accept the many identities assumed by our
environment, while our own tendency towards organization makes us look for
and find structure in it. Our mind groups and organizes these various
elements. In the deconstructed space that is the natural environment, a
single symbolic element defines it and gives it meaning. This familiar form
is enough for us to reconstruct a landscape. It all comes down to our
perception and acceptance of these painted shapes.
As
the artist pursues his deconstruction of space, the viewer is invited to
become aware of his own reconstruction process, of this Gestalt bridging the
gap between the artist and the viewer.
Denis
Larouche A.O.C.A.
Gatineau
(Hull), Qc. 2009
INTERVIEW
WITH CONTEMPORARY ARTIST DENIS LAROUCHE - JANUARY 2008
Interview
with Marina Cutler, for AvenueArt Studio 10, in Montreal
MC:
What was it that made you want to be an artist?
DL:
Oh my! How do I explain this? I have always had a taste for artistic
expression, especially model making, even as a child. But in the small
towns where I grew up there were few opportunities for exposure to visual
arts. It was when my family moved to Ottawa and I took to visiting the
National Gallery of Canada that I really discovered painting.
MC:
How would you describe your painting style and your paintings?
DL:
Over the years, I have experimented with several styles of artistic
expression. Prior to studying at the Ontario College of Art & Design (O.C.A.D.)
in Toronto I was fascinated with the Masters of the Baroque period,
especially Caravaggio and his wonderful treatment of the human figure and
drapery (I may yet return to figure painting, but with a more contemporary
twist). While in art school in Toronto, I was introduced to various
concepts such as texture in painting, or the type of colour fragmentation
developed by the Impressionnists.
I
went from Baroque painting, to Impressionnism, to Post-impressionnism. I
spent several years painting outside, sur le motif, until I decided
to create my own imagery. I am not exactly sure how I would define what I
do at the moment, or what label I would but on it, but it certainly
revolves around the exploration of colour and texture.
As
these considerations have taken much place in my painting, the relative
importance of the subject matter itself has diminished. This has led to a
more stylised imagery where the treatment of open space becomes the real
focus. The subject itself becomes a key leading into this space and the
interpretation of its content.
I
was once talking with a musician friend and we realized that both our
crafts had much in common. Both deal with the combination and organization
of essentially abstract elements, be they musical notes or strokes of
colour, into larger fragments, parts of a whole. The result sometimes
suggests clear images, sometimes a purely emotional, or intelectual
response.
MC:
Your paintings have a mystique, serene quality about them. Is the subject
realy important to you, or is it the mood of the painting that fascinates
you most?
DL:
Perhaps a bit of both, but I would say that I do my best work when I get
so involved in the action of painting that everything else disappears. Led
by a drive to create a particular image - of series of images - painting
becomes an instinctive act of wil and creation. It does not always happen
that way, but it is wonderful when it does. I suppose I am searching for
serenity through painting. In that respect, the water, trees, boats and
earth are certanly "grounding" elements. But, as I said, these
elements only emphasize the space surrounding them and give it meaning. A
boat tells you that the surface below is most likely water and the space
above is sky. Once established, this space can become anything. Its
treatment becomes a search in itself, obeying laws and a logic that exist
only whithin the painting.
If
I can achieve balance, equilibrium between the various components of the
composition whithin the painting, then I have achieved my goal.
MC:
What artists have influenced you the most?
DL:
I would name three: Michelangelo Merisi (Caravagio), Claude Monet and Tom
Hopkins
Caravaggio
is the one who brough tme to the world of painting. His work fascinated me
to the point of taking me to art college.
Monet
would be no surprise. He influenced so many artists in the 20th Century.
Through him I discovered the power of colour, either opaque or
transparent, and the value of light.
Tom
Hopkins is the artist who made me understand texture and and the value of
simplicity in a composition, that one can create a very powerful image
with only a few, well chosen elements.
MC:
What other interests do you have (besides painting)?
DL:
I love the work I do as a Model Maker. My clients are mostly museums or
historic sites, for which I fabricate scale models, mannequins, artefact
replicas, etc...I recently produced a large diorama (3-D environment) for
the Canadian Museum of Nature.
I
also like to play hockey (goaltender), cycle and cross country ski. As a
goalie and a model maker, I designed and fabricated my own goalie mask.
I
enjoy good wines and good books too, Mozart operas and Cecilia Bartoli's
signing.
MC:
How do you keep yourself motivated to paint?
DL:
Not really a problem. My work is divided between contracts I do for
clients and painting i do between contracts. So, whenever I finish a
contract, I'm always excited to return to painting, hoping I will have a
few months to work on several canvases. Eventually, a new contract comes
along and that's exciting too because of the new chalenges it brings.
There is never a routine. Of course, there is little job security in the
art profession, but one must accept that. On the other hand, I don't
believe I could remain in an office week after week, year after year. But
it's a choice you have to make.
MC:
How have you handeled the business side of being an artist?
DL:
It comes with the territory when you are self-employed. You have to
present your work to galleries, to find one or two that will accept to
represent you, and that is definitely "business". You have to
negotiate terms, organize exhibitions, and transport paintings to and from
exhibition sites. Working no contracts for my clients, I had to learn to
prepare estimates, anticipate difficulties and how long the work will take
to complete. I have to take care of all the paperwork and so on. I must
admit applying the same procedures to a career as a painter is not easy,
but there are similitaries.
MC:
Where do you see yourself in ten years?
DL:
Ask me again in ten years. But it would be nice to concentrate on just
painting.
MC:
Can you tell us about the latest series that you are working on right on?
DL:
I don't much like to talk about ongoing, or future projects, except in the
broadest sense, as these tend to change along the way. I am thinking about
a few new boat paintings and also doing some sketches for a possible
series of figures. That's about all I'm willing to say at this point.
MC:
How much time do dedicate to painting?
DL:
it comes and goes, depending on what I have on my agenda. As I said,
between contracts I spend most of my time at my painting studio. This
means that when I get painting, it's full time for weeks or months at a
time. These are periods of intense work.
MC:
When you look at all the paintings you have produced, is there one that
has a special meaning, or place in your heart?
DL:
There are several and as I prduce more paintings, my favorite works tend
to change. But there are two or three that stand out for me.
First,
there is "La Traversée I" - 2004 (Crossing I)
Then,
I would say "Vers la mer" - 2003 (Out to Sea)
Finally,
"Paysage en orange et vert II" - 2005 (Landscape in Orange and
Green, no2)
These
are paintings that correspond to what I have been looking for in my work
over the past years: simple, though solid compositions, with a well
developed space and well resolved colour scheme. A teacher at O.C.A D. often
reminded us that "...every square inch of a composition should
contribute to the whole...". In that respect, these paintings are
certainly amongst my best resolved works.
MC:
What advice would you give to an artist just starting out?
DL:
I could try to answer this myself, but a friend sent me the following a
while ago and it summarizes it all so well.
In
1903, poet Rainer Maria Rilke responded by letter to a young man seeking his
advice. Rilke eventually wrote ten letters now collectively known and much
published as "Letters to a Young Poet". I think their content
holds truth for all artists.
"...Your
work needs to be independent from other's work.
You
must not compare yourself to others.
No
one can help you. You have to help yourself.
Criticism
leads to misunderstanding and defeatism.
Work
from necessity and your compulsion to do it.
Work
on what you know and what you are sure to love.
Don't
observe yourself too closely, just let it happen.
Don't
let yourself be controled by too much irony.
Live
in and love the activity of your work
Be
free of thoughts of sin, guilt and misgiving
Be
touched by the beautiful anxiety of life
Be
patient with the unresolved in your heart
Try
to be in love with the questions themselves
Love
your solitude and try to sing with its pain
Be
gentle to all those who stay behind
Your
inner self is woth your entire concentration
Allow
your art to make extraordinary demands on you
Bear
your sadness with greater trust than your joy
Do
not persecute yourself with how things are going
It's
good to be solitary, because solitude is difficult
It's
good to love, because love is difficult
You
are not a prisoner of anything or anyone..."
Rainer
Maria Rilke (1875-1926)
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