"Inspired by the writings of Joan Gibbons and Marcel Proust, my work investigates the way our emotive memory functions and changes our perception of the world. Hunting down remnants of recollections, I reshape and reorganize them to bring an emotion to the surface with which the viewer can identify.
In between the printed lines, I collect the emotional charge stored into the natural and constructed structures, which relays on sort of distorted memory and storytelling. This type of work could be realized with a current technology that gives the ability to duplicate a mark with precise exactitude. But I choose traditional printmaking to call attention on life vibrating while making works with repeated acts as memory in craves itself. I use industrial material as a matrix and as a support. I believe in Kandinsky’s theory of shapes that is establishing a language of pure means in order to talk to the human soul.1 Consequently and responding to my own attraction to materials and my love for leaving marks, I mold my vocabulary after a simple shape, a solid color and a process based on the repetition of gesture.
My work is realized in two phases. The first one is the production of the pints. This is the gathering. I accumulate intensively and with intuition a bank of prints. I stay alert to the “happy accidents.” The second step is happening in a silence and in a meditation state. This is the fabrication. I let the work reveal oneself. I construct it in two or three dimensions, by assembling, folding, juxtaposition or superposition. Sometimes, I add other materials like rabbit glue or encaustic or any anything that inspires me".
I propose to show my way of making printmaking without a printing shop, nether a press and even without a studio but using only ink as a special printing material
I propose this scenario
1. Showspoonprintingtechnique
1 Wassily Kandinsky, Point et ligne sur plan, Gallimard, 1991.
Hélène Latulippe is a Canadian artist based in Montréal. She has studied industrial design and holds a BFA from Concordia University in Montreal – 2012. She also studied in France and Italy.
She has presented numerous solo and group exhibitions in venues that include Calgary, Toronto, UK, and Norway. She has attended residencies in Norway, Montreal and Banff Center, as an independent resident in Leighton Colony Artists Studios.
She received grants from “Le Conseil des Arts et des Lettres du Québec” and from McGill University in Montreal. She is prize-winner of “La 9e biennale internationale d’estampe contemporaine de Trois- Rivières” 2015 for the quality of her work and Artist of the Year 2014, City of Montreal.
Her work is collected and includes Air Canada, National Bank of Canada, Concordia University and private collectors like lawyers, architects and designers offices.
helene.latulippe@gmail.com
https://www.helenelatulippe.com
To check availability for this Workshop please complete and submit the form below.
In between the printed lines, I collect the emotional charge stored into the natural and constructed structures, which relays on sort of distorted memory and storytelling. This type of work could be realized with a current technology that gives the ability to duplicate a mark with precise exactitude. But I choose traditional printmaking to call attention on life vibrating while making works with repeated acts as memory in craves itself. I use industrial material as a matrix and as a support. I believe in Kandinsky’s theory of shapes that is establishing a language of pure means in order to talk to the human soul.1 Consequently and responding to my own attraction to materials and my love for leaving marks, I mold my vocabulary after a simple shape, a solid color and a process based on the repetition of gesture.
My work is realized in two phases. The first one is the production of the pints. This is the gathering. I accumulate intensively and with intuition a bank of prints. I stay alert to the “happy accidents.” The second step is happening in a silence and in a meditation state. This is the fabrication. I let the work reveal oneself. I construct it in two or three dimensions, by assembling, folding, juxtaposition or superposition. Sometimes, I add other materials like rabbit glue or encaustic or any anything that inspires me".
I propose to show my way of making printmaking without a printing shop, nether a press and even without a studio but using only ink as a special printing material
I propose this scenario
1. Showspoonprintingtechnique
1 Wassily Kandinsky, Point et ligne sur plan, Gallimard, 1991.
- Use commercial material as printing as a plate. For example, I use rubber rug (photo 1).
- During the work periods, go in nature so oneself become emotionally immerse from it.
- Printintuitivelyanaccumulateabankofprintsusingsuitablepaperforthat technique like kraft paper.
- Lookatdifferentworksmadeoutofthistechniquethroughthetimes
- Constructthelandscapebyassembling,folding,juxtaposingdifferentprints
and adding any other material that inspires us.
Hélène Latulippe is a Canadian artist based in Montréal. She has studied industrial design and holds a BFA from Concordia University in Montreal – 2012. She also studied in France and Italy.
She has presented numerous solo and group exhibitions in venues that include Calgary, Toronto, UK, and Norway. She has attended residencies in Norway, Montreal and Banff Center, as an independent resident in Leighton Colony Artists Studios.
She received grants from “Le Conseil des Arts et des Lettres du Québec” and from McGill University in Montreal. She is prize-winner of “La 9e biennale internationale d’estampe contemporaine de Trois- Rivières” 2015 for the quality of her work and Artist of the Year 2014, City of Montreal.
Her work is collected and includes Air Canada, National Bank of Canada, Concordia University and private collectors like lawyers, architects and designers offices.
helene.latulippe@gmail.com
https://www.helenelatulippe.com
To check availability for this Workshop please complete and submit the form below.
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