These representations suggest accident and catastrophe as possible destinies. The dioramas, composed of miniatures, incarnate moments where, obviously, a tragedy has occurred. The scale employed allows the spectator to delve into a universe of imagined dystopia into which daily life is slipping.

Presented during Accident, Off Manif d’art de Québec (Québec City, Canada), 2010 and Pièces détachées exhibition, Festival Relève en Capitale (Quebec, Canada) en 2010.

 

Assembled from photographs captured in various suburbs, these images are inspired by the vertigo often associated with these highly structured settings, too often based on a pecuniary and unnatural logic. This third ring of urban development serves as a metaphor for existence trapped in an eternal present, giving no thought whatsoever to the future, or at least to what lies outside one’s own enclave. Suburbia, here, is subjected to the nightmarish underside of its own utopian principles. It is a symptom of the society which created it.

Presented at the Maison de la Culture Mont-Royal (Montréal, Canada), as well as at Gésù, Centre de Créativité (Montréal, Canada), 2008.

 

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This photographic series presents individuals plummeting against a white background or, as marionettes tumbling into domestic landscapes, hence creating scenes of atypical scale.

Presented at the Maison de la culture Mont-Royal and at Gésù (Montréal, Canada), 2008.

Les Baisers de Résistance (Kisses of Resistance), is a corpus taken from an action executed in various public places chosen for their impersonal aspects. We chose to use the intimacy and complicity of our relationship as a product for contamination and propaganda. These kisses present themselves as a poetic axis for the drawing together of society by injecting a measure of humanity into settings which are infused with a certain anonymity.  This use of visual contrasts generates dissonance in the daily landscape. These oppositions of place and gesture reinforce the idea of the possibility of emotional approaches between two individuals. Resembling tourists or newlyweds, we ask people to photograph us kissing. The participation of a third person makes this kiss into an event, the three actors working together to thrust this intimate act into the public sphere. In partnership with Christian Barré.

Presented at (Im)mortal love international biennial Warsaw (Varsovie, Pologne), 2007, at Maison de la culture Frontenac (Montréal, Canada), at the Peep Art/Art Voyou exhibition at L’Écart art center (Rouyn-Noranda, Canada) as well as at Crafting Romance at the Athens Institute for Contemporary Art (Athens, États-Unis), 2009.

These digital drawings present modern heroes in the process of teaching the budding population, submission and adoration like a dangerous and insidious masquerade. It is a reflection on the panoply of silent and misappropriated means that are used to communicate various behavioural messages. Games played by scouts are perverted into each-man-for-himself, lending an air of tragic half-consciousness to these youth. Cynical about a world of ideological control, of performance, and false promises, these dreadful scenes reflect back to us the image of our own actions in regard to various social and political constraints.

Presented at the Manif d’art 3 in 2005, this series of images was accompanied by interventions that took place outside in the shrubs and bushes around the Québec City’s downtown core.