Description

Joani Tremblay examines our perception of places, architectures, and its possible representations, through the creation of fictional landscapes. In 2018, she went to Arcosanti, Arizona, where a utopian city was created in the 70’s. This colony aimed to experiment a system combining architecture and ecology, with ascent of the human consciousness as ultimate purpose. Utopias are mostly mental spaces, made from strong convictions but also unachievable fantasies. This is probably what fascinated the artist who has a strong interest in our memory and its ability to modify the accuracy of what we consider to be real. This would partly explain why she works on the constructed idea of a place, by digitally assembling images from an infinity of sources (from social media to postcards), until she transfigures it into a painting. Although they cannot locate it, Tremblay’s landscapes looks familiar to the viewers. What we observe in the series Quaderno is not the city she has visited, but what she felt about the communal identity, its past and hopes for the future.

Joani Tremblay

Quaderno 4

  • Medium
    Painting
  • Year
    2019
  • Size

    36 × 29.9 × 1.6 in

    91.5 × 76 × 4 cm

  • Material
    Oil on linen
  • Price
    Ask for price
  • Edition
    This is a unique work
  • Certificate of Authenticity
    Includes certificate of authenticity.
  • Artist Signature
    The artwork is signed by the artist.
  • All purchases are protected by our Buyer Protection. Taxes and shipping may apply.

Description

Joani Tremblay examines our perception of places, architectures, and its possible representations, through the creation of fictional landscapes. In 2018, she went to Arcosanti, Arizona, where a utopian city was created in the 70’s. This colony aimed to experiment a system combining architecture and ecology, with ascent of the human consciousness as ultimate purpose. Utopias are mostly mental spaces, made from strong convictions but also unachievable fantasies. This is probably what fascinated the artist who has a strong interest in our memory and its ability to modify the accuracy of what we consider to be real. This would partly explain why she works on the constructed idea of a place, by digitally assembling images from an infinity of sources (from social media to postcards), until she transfigures it into a painting. Although they cannot locate it, Tremblay’s landscapes looks familiar to the viewers. What we observe in the series Quaderno is not the city she has visited, but what she felt about the communal identity, its past and hopes for the future.

Joani Tremblay

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