[October 28, 2020] Some artists choose to add ballast to the horizon of expectations that the title tends to create. This is obvious in the work of Charles-Frédérick Ouellet. Ouellet knows that titles condition our expectations, and so he chooses them in such a way that they are superimposed on his photographs (…) he forces them, in a way, to represent more than one might have thought at first glance.
[October 28, 2020] Documentary photographer Pat Kane, an Algonquin Anishinaabe member of the Timiskaming First Nation, has collaborated with various First Nations and NGOs since 2015, photographing Indigenous-led conservation efforts, culture camps, and tourism initiatives in the Northwest Territories for his ongoing series Guardians of the North.
[October 28, 2020] Photographer Geneviève Thibault is developing an ethnology-oriented documentary approach that takes her into the daily life of others. Focusing on domestic objects, which she highlights with a soft, diffuse flash, she uncovers the organized disorder in the privacy of the abodes that she visits. She immerses herself in the living environments of existing communities, such as the Roma and the Ursuline nuns.
[October 28, 2020] When the grinding gears of gentrification sounded the knell for the artists’ studios at 305, rue Bellechasse, photographer Sandra Larochelle quickly went to meet with the artists in order to immortalize their experience in the building. It was a way for her to pay tribute to the location where she was born as an artist and to continue her personal work on memory.
[October 28, 2020] One summer, photojournalist Valérian Mazataud was invited to photograph the tenants of the Corporation d’habitation Jeanne-Mance, situated in downtown Montreal. Mazataud saw this as more than a commission; it was a photographic mission that would enable him to encounter the different communities residing in what was dubbed “Le plan”.
[October 28, 2020] Her work transcends the superficial, revealing something much rawer, as if her subjects are confronting the viewer with the unrevealed or less-allowed parts of themselves. Ultimately, Vanessa Tignanelli is inviting the viewer into those parts, into the wild within them, as the characters’ skin, clothes, unshaved beards, and expressions take us somewhere we do not dare go.