{"title":"Material Constellations","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003eCarole Baillargeon | Marilyne Bissonnette | Stéphanie Morissette | Marianne Pon-Layus | Saul Sanchez\u003cbr\u003eNovember 18 – December 27, 2026\u003cbr\u003ePart of Pictura, Triennale de peinture de Montréal\u003c\/p\u003e\n\u003csection data-test=\"page-section\" data-section-theme=\"white\" class=\"page-section \n    \n      full-bleed-section\n      layout-engine-section\n    \n    background-width--full-bleed\n    \n      section-height--small\n    \n    \n      content-width--wide\n    \n    horizontal-alignment--center\n    vertical-alignment--middle\n    \n      \n    \n    \n    white\" data-section-id=\"6a9858dbfee6125c29efa4fd\" data-controller=\"SectionWrapperController\" data-current-styles='{\n                \"imageOverlayOpacity\": 0.15,\n                \"backgroundWidth\": \"background-width--full-bleed\",\n                \"sectionHeight\": \"section-height--small\",\n   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        \"filter\": 1,\n                  \"filterStrength\": 0,\n                  \"zoom\": 0,\n                  \"videoSourceProvider\": \"none\"\n                },\n                \"backgroundImageId\": null,\n                \"backgroundMediaEffect\": {\n                  \"type\": \"none\"\n                },\n                \"divider\": {\n                  \"enabled\": false\n                },\n                \"typeName\": \"portfolio-hover-follow\"\n              }' data-animation=\"none\" data-fluid-engine-section=\"\" data-sqsp-section=\"fluid-engine\" data-controllers-bound=\"SectionWrapperController\" data-active=\"true\"\u003e\n\u003cdiv class=\"content-wrapper\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cdiv data-fluid-engine=\"true\"\u003e\n\u003cdiv class=\"fluid-engine fe-6a9858dbfee6125c29efa4ff\"\u003e\n\u003cdiv class=\"fe-block fe-block-ea100d5d9c3eed286524\"\u003e\n\u003cdiv class=\"sqs-block website-component-block sqs-block-website-component sqs-block-html html-block\" data-block-css='[\"https:\/\/definitions.sqspcdn.com\/website-component-definition\/static-assets\/website.components.html\/e151aa35-11aa-4a63-bd42-5a098dce6037_1055\/website.components.html.styles.css\"]' data-block-scripts='[\"https:\/\/definitions.sqspcdn.com\/website-component-definition\/static-assets\/website.components.html\/e151aa35-11aa-4a63-bd42-5a098dce6037_1055\/website.components.html.visitor.js\"]' data-block-type=\"1337\" data-definition-name=\"website.components.html\" data-sqsp-block=\"text\" data-website-component-id=\"ea100d5d9c3eed286524\" id=\"block-ea100d5d9c3eed286524\"\u003e\n\u003cdiv class=\"sqs-block-content\"\u003e\n\u003cdiv class=\"sqs-text-block-container\"\u003e\n\u003cdiv class=\"sqs-html-content\" data-sqsp-text-block-content=\"\"\u003e\n\u003cp dir=\"ltr\"\u003eFor Pictura, I wanted to ask a simple question: where does painting begin? The five artists in this exhibition, all of whom I represent, each answer it differently. Colour, pigment and paint run through every work, but they rarely stay where we expect them to.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eCarole Baillargeon makes her own colours from plants gathered along the St. Lawrence. In \u003cem\u003ePage 88\u003c\/em\u003e, natural dyes and inks soak into handmade paper and settle into something like a rock face, crossed by a dark fissure and ancient-looking marks. Here pigment and support are one and the same. Marilyne Bissonnette moves painting into relief. In \u003cem\u003eGrisette joue à la poupée avec Marine\u003c\/em\u003e, dozens of porcelain cat heads, each glazed and painted with its own character, crowd together on a wooden panel, a portrait of belonging and singularity. Stéphanie Morissette pairs watercolour with digital printing. In \u003cem\u003eSwarm of Black Hornets\u003c\/em\u003e, a formation of reconnaissance drones hovers over a desert where irises still bloom, a scene of quiet menace drawn with her signature dark humour. Marianne Pon-Layus thins acrylic on canvas primed with clear gesso, so the bare canvas becomes the light of \u003cem\u003eHécate\u003c\/em\u003e: a three-faced goddess holding a skull among a circle of women in embroidered dress, both powerful and ambivalent. Saul Sanchez turns the question around. In \u003cem\u003eOne Thing for Another (Rebus 9)\u003c\/em\u003e, oil on canvas takes on the appearance of a porcelain plate, its painted rebus waiting to be deciphered: image standing in for word, and painting standing in for object.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eI chose these works for the way they answer one another. Real porcelain sits beside painted porcelain, and paper that becomes landscape beside canvas left to breathe. A crowd of cats echoes a swarm of drones and a circle of women. Together they form a constellation in which painting is less a medium than a way of thinking through matter. I am very proud to bring them together in one room.\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cem\u003eAnne Jano, Director and Founder, Galerie JANO\u003c\/em\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/section\u003e","products":[{"product_id":"parliament-of-global-hawk-by-stephanie-morissette","title":"Parlement de Global Hawk","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eUne illustration inspirée de l'ouvrage de J.J. 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Par la répétition, ces peintures révèlent leur propre processus de construction, sans pour autant dévoiler aisément leur étape exacte. Ici, « le bord du carré est construit de manière discontinue, physiquement et temporellement, par l'apparition et la disparition de parties. Le carré positif est inexistant. L'idée même de carré, d'un point de vue purement lexical, finit par être fondamentalement ambiguë ; par exemple, le bord illusoire du carré est irrégulier, et non le carré en lui-même. »\u003c\/span\u003e\u003cspan lang=\"es\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp class=\"MsoNormal\"\u003e\u003cspan lang=\"es\"\u003eDe plus, la présence du ruban adhésif – servant de gabarit pour le carré – indique que la peinture est probablement inachevée. Or, puisque le « ruban » est peint, l’opération s’inverse et acquiert une forme intentionnelle, à l’image de ce qu’elle est actuellement. 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