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22.09.22 - 16.10.22

Chloé Gagnon

Born in 1995, Chloé Gagnon is a Franco-Ontarian artist who lives and works in Tio'tia:ke (Montreal). She holds a master's degree in visual and media arts from UQAM and a bachelor's degree in visual arts from the Université de Moncton. She recently presented the solo exhibition Did We Dream Too Fast? at the CDEx of UQAM (2021) and has participated in various group exhibitions in Montreal, including Artch: 4 th edition at Dorchester Square (2021), Peinture fraiche et nouvelle construction at Art Mûr (2021) and Écho Boomer: Natifs numériques at Projet Casa (2020). She will soon participate in the group exhibition Espace Sensible curated by the artist-run center Le Lobe in Chicoutimi (October 2022) and another one at Centre des arts actuels Skol in Montreal

(January 2023).


The heart of Chloé Gagnon's work lies in a quest for agency through collages transposed into paint. In an approach that is both critical and humorous, she uses cutting in her work process to free herself from certain social constraints. She "glues" these pieces together by imagining improbable collisions between images that are sometimes soft, sometimes incisive, following the meanderings of her subjectivity. Culled from magazines or books, the texts and images she uses - mostly female and animal figures - are first combined in the form of digital collages. The game begins when these snippets clash through diverse ways in which she processes pictorial matter, notably by the accumulation of layers.

David Bellemare

David Bellemare has been living and working in Montreal for 15 years. Originally from the Outaouais region, he holds a bachelor's degree in painting and drawing from Concordia University. He has exhibited in Canada, Mexico and France and is represented by the TAP gallery.


His artistic practice is rooted in collage. He approaches both painting and sculpture copy and paste mediums. He takes images out of their initial context and juxtaposes them to give them a new meaning. Bellemare draws his imagery from web culture, clip art, used books, sacred rites and childhood memories. The Kitsch or the grandiose, the banal or the sacred, these worlds clash when they come together in his creations, to create a kind of discomfort that activates the pictorial surface. Symmetry, monumentality, and symbolism are important aspects of his works. Autobiographical stories are then added, as camouflaged elements. It is in this oscillation, between the personal and the universal, that Bellemare situates himself. Humor is for him an indispensable creative tool. As his grandmother used to say: "After all, if you're not worth a laugh, you're not worth much!"

Jérémie Deschamps Bussières

Jérémie Deschamps Bussières lives and works in Trois-Rivières. In 2022, he was among the short list of artists selected for the Foire en art actuel de Québec. Before this he was part of exhibition copy/paste/erase with 7 other international artists selected by the Galerie C.O.A in Montreal. In 2015, he gained exposure at the Freshpaint exhibition at the Galerie Art Mûr in Montreal, which brought the work of 40 emerging Canadian artists together. His work was then referenced and highlighted in an article in Presse+ in Montreal. In 2019, the artist presented his first solo work La fuite des fusées éclairantes at the Centre d'exposition Raymond-Lasnier, which earned him the Stelio Sole award the following year. He was also nominated for the Arts Excellence award in 2021. The artist also has collaborated with many collaborations Burton Snowboards, We Are Colossale, and Cirque du Soleil) and has participated various in group exhibitions, both in Quebec and abroad (Mexico, China, Colombia, France, Spain, Serbia). His work has been the subject of several articles in La Presse+, Le Nouvelliste, Supersonic Art and the magazine of the design center of UQAM in Montreal, and Pica Magazine.



Using the inexhaustible source of content that the internet offers today, Jérémie Deschamps Bussière documents videos, which are often anonymous. From these videos, the artist chooses stills and appropriates with his own sensitive and intuitive intervention. Social catastrophes or spectacular adventures from the public realm, tragic to the everyday occurrences, content used by the artist from Trois-Rivières is presented as a mythical, or epic moments of human history in the age of the Internet. The video still becomes first a photo, then a painting, and finally a work of art. Thus, the works propose to be a testimony of our time. A particular importance is given to certain events shared online when contextualized through the traditional processes of artistic endeavour. By creating these artifacts, the artist's interventions blurs univocal interpretation, release multiple possibilities for the viewers interpretations.

Rebecca Munce

Rebecca Munce lives and works in Montreal. She holds a BFA from York University and an MFA from Concordia University. Munce has participated in numerous exhibitions in Canada, the United States, Italy and Japan. More recently, the artist's works have been exhibited in a solo exhibition at DRAC art center in Drummondville (2022), Spring/Break (New York, 2021), Center Clark (Montreal, 2021), McBride Contemporain (Montreal, 2020), Stewart Hall Gallery (Montreal, 2019), FOFA Gallery (Montreal, 2018) and Momozono Gallery (Tokyo, 2018).

Rebecca Munce’s drawings and sculptures explore the intersection of fantasy and the everyday psyche. Through her practice Munce brings together the hyperbole of mythological form with allegorical experience. The drawings and sculptures are constructed from a variety of sources; medieval mnemonic imagery, computer and board games and her creative writing practice. Munce creates characters, both supernatural and human, that appear again and again. These characters are repeated for years at a time, living through both sisphysian and euphoric scenarios. Through this approach Munce explores what it means to build and share an internal world, utilizing archetypes, pattern, repetitive figuration, and symbology as her tools towards its evolving construction.


The word "blastover" comes from tattooing and designates a tattoo superimposed on one or more other tattoos. The objective is not to cover without taking into account one or several old, faded, or undesirable tattoos. In this sense, it is not a cover-up, i.e., an attempt to hide an old image entirely, with, for example, calculated shapes, dark shadows, and saturated colors.  The old tattoo(s) are more than backgrounds for the new applications, they are contexts.
Rebecca Munce, Jérémie Deschamps Bussières, David Bellemare et Chloé Gagnon, each in her or his own way, filter, through the tight mesh of their subjectivity, images drawn from the collective imagination, conscious of the fact that they cover them without hiding them, but on the contrary, making full use of the substrate from which their substance emerges.

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