DRAWING IS THE NEW PAINTING

Exhibition from January 14 to February 27, 2016 // Opening January 16 from 3h00 p.m. to 6h00 p.m.                         Performance by Marie Ségolène C. Brault on January 16 at 4h00 p.m.              

Invited artists: Annie Descôteaux, Claire Milbrath, Gabrielle Lamontagne, Louis Bouvier, Marie Ségolène C. Brault, Shauna Born, Shauna Eve and Tim Messeiller.                                                                                                             Organized by:  Joani Tremblay

Drawing is the new painting.
Drawing is marginal.
Drawing is free from convention and therefore it is the ultimate expression of freedom.
Drawing never died.
Drawing can be done in any medium.
Drawing is the first art we all produce as children, and therefore it is universal, raw, spontaneous, and innocent.
Drawing is closest to the original kernel of an idea.
Drawing is private.
Drawing is the newest oldest medium.
Drawing is impossible to define.

(Collage of excerpts from Karen Kurczynski, Drawing is the New Painting, Art Journal. 2011)

 Drawing Is the New Painting  is an attempt at examining contemporary issues in current drawing practices. What is drawing today? Why drawing now? This selection of artist explores drawing as a malleable medium through collage, drawing on different surfaces, drawing as sculpture and drawing as performance. With a critical assessment, the artists rethought the traditional concepts of drawing and expanded the medium’s definition.

Drawing can be thought as a visual language, furthermore, it can be thought as “visual thinking” or as a “third thing” with a specific epistemic autonomy in contrast to the realm of concept and language.[1] In other words, drawing can be thought as a knowledge-producing activity. Drawing can be used to investigate nonverbal inquiry, to think through problems and to analyze experiences. When beginning to draw, one realizes that we know far less about what we see than previously presumed. Drawing is seen, through its well-established theory, as a “doubly significant instrument of representation: as a moment of knowledge (therefore adjusting the idea to fit the object), and as an act of creative construction, capable of modifying the passive perception of the real and refocusing it within the dimension of theoretical and practical construction, often with a pronounced ideological content.”[2]

The artists in this exhibition think further the questions: What it is to draw? What it is to make a mark? This exhibition hopes to stimulate a dialogue regarding issues of current drawing practices and encourage artists’ passion about drawing in its many forms, as well as to explore further, experiment and play.

[1]   Milani, Stefano and Marc Schoonderbeek. Drawing Theory. An Introduction. Footprint 4 no2 Autumn 2010. p. 1-8.

[2]   Moschini, Francesco. “Sign.” The New C-Ay. ltlia-Y-26. Venice Biennale. The ItalianPavillon at the 10th InternationalExhibition (Bologna: ad. Compositor, 2006) p. 414.