Atelier-Galerie A. Piroir

Hélène Latulippe; 49 Days to fall in Line at Banff Center for the Arts and Creativity and its results

Hélène Latulippe; 49 Days to fall in Line at Banff Center for the Arts and Creativity and its results

The work shown in these exhibitions results of a seven-week residency at Banff Center for the Arts and Creativity, Alberta, Canada. The landscape of the Rockies has nourished my imagination. For 49 days I have kept my eyes on these snowy mountains, skied on them, climbed some of them and visited lookouts in the hope that they would deliver a clue. They did! They have led me to their deepest and least accessible spaces, where some remembrance could lie.

My residency originated meaningful investigation and a shift in my pictorial and in my process of linocut. My attention has moved from the stratum to holes or gaps as keeper of the memory. That made me consider the emptiness within the fulness, and most of all, I realized that memory, as plenitude, can lie into this emptiness. I also came to use very light colors, and to incorporate folding of the paper directly in the printing process. Though in a very basic manner, it has set the premise for three-dimension realizations.

This work illustrates the spaces created by these wonderful tectonic plates’ crashes of the Rockies. The exhibition is about snow, chasms, gorges, hollows, crevasses of mountains and glaciers’ greatness. I have used traditional linocut technique to which I have added encaustic. The result is juxtaposed or superimposed one of a kind panels delicately fixed on the wall with classic dressmakers’ pins or suspended with fine fishing line. Each piece is unique.

Image Credit:

Michel Dubreuil

She lingers on the ghosts of places. In between the printed lines, she collects emotional charge stored into natural and constructed structures, which relays on sort of distorted recollection and storytelling.

Claudia Leduc

Hélène Latulippe

49 Days to Fall in Line

2017

244cm x 122cm

Linocut on Interfacing paper

From the artist

4000.$

9 EvB- Artwork 9 (Gachet) (Portraits) -

Hélène Latulippe

Mount Rundle’s Agglutinations

2019

244cm x 97cm

Linocut on interfacing paper

From the artist

4000.$

9 EvB- Artwork 9 (Gachet) (Portraits) -

Michel Dubreuil

Hélène Latulippe

Rocky Mountains’ Peaks

2018

20cm x 20cm

Linocut on interfacing paper coated with encaustic

From the artist

500.$

9 EvB- Artwork 9 (Gachet) (Portraits) -

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9 EvB- Artwork 9 (Gachet) (Portraits) -

Michel Dubreuil

Hélène Latulippe

Envolée de lignes

2018-19

Variable dimension. About 125 suspended elements of 20cm x 20cm each.

Linocut on wrinkled interfacing paper coated with encaustic

5000.$

9 EvB- Artwork 9 (Gachet) (Portraits) -

Inquire
9 EvB- Artwork 9 (Gachet) (Portraits) -

9 EvB- Artwork 9 (Gachet) (Portraits) -

Cascade Mountain in July

Hélène Latulippe

2019

240 cm x 100 cm

Fiberglass paper, Interfacing paper with encaustic and Linocut on in interfacing paper

From the artist

4000.$

Inquire
9 EvB- Artwork 9 (Gachet) (Portraits) -
9 EvB- Artwork 9 (Gachet) (Portraits) -

Hélène Latulippe

Cascade Mountain in February

2019

240 cm x 100 cm

Interfacing paper, Interfacing paper with encaustic and Linocut on Fiberglass paper

From the artist

4000.$

Inquire
9 EvB- Artwork 9 (Gachet) (Portraits) -

Memory engraves, erases, distorts. It records the events in its own way, modifies them randomly according to its whims and transforms them in pure fabrication. It classifies occurrences impetuously as witnesses, feelings, views, allusions, traces, marks, scars, reminiscences, engrams. It superimposes moods, sounds and smells to them. It hides them simultaneously under different perspectives, divergent angles, or behind many facets of one’s personality. It is primary, selective, wild, and associative.

Inspired by the writings of Joan Gibbons and Marcel Proust, I investigate the way our memory functions and changes our perception of the world.

Printmaking responds to my attraction to papers and to my love for making marks. It also echoes the purpose of my subject by leaving marks as memory does in the brain. I use manly commercial materials in my practice. This goes for my templates as well as my supports. I operate in two steps. First, I print stockpiles in an intuitive and intensive way, staying mindful to the environment and to the “happy accidents” during all the process. Second, assemble in the silence and the meditative state of the studio. I let the experiment reveals itself at this stage of assembly.
I have studied industrial design and hold a BFA from Concordia University in Montreal. I also attended art schools in France and Italy. My creations have been presented in numerous solo and group exhibitions in Canada, United States, United Kingdom and Norway. I attended a few creative residencies notably in Montreal, Quebec City, Troms ([Norway] and Banff [Canada]. My work is part of collections at Air Canada, National Bank of Canada and Concordia University.

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