Catherine Bolduc is a visual artist born in Quebec (Canada) in 1970. She lives and works in Montreal. She has had several solo and group exhibitions in Canada and abroad (Japan, Germany, Spain, France, Netherlands and the United States). She has taken part in various artist residencies abroad, including the prestigious Künstlerhaus Bethanien in Berlin, the Studio du Québec à Tokyo and, in the context of Pépinières européennes pour jeunes artistes, the National Sculpture Factory in Cork, Ireland. She has received numerous awards, including the Bourse Duchamp-Villon 2001, Best Publication at the Gala des arts visuels 2012 and the Powerhouse Prize 2013. She also has received many research grants (Canada Council for the Arts and Quebec Council for the Arts). Her seventh permanent public sculpture will be inaugurated in 2018. Catherine Bolduc is represented by Galerie D'Este (Montreal).
In my art practice (installation, sculpture, drawing, public art), I am interested in the way the human psyche perceives and constructs reality by feeding it with its own desires, by supplanting it with its fabrication of fantasy and fiction. My work rests on subjective experiences dealing with personal memories in which fantasizing and idealization produce a mental transfiguration of reality. Or conversely, when desire is subjected to the ordeal of reality and perception is faced head-on by disillusion and deception. My art pieces are an invitation to experience fantasy-spaces but where magic also reveals its dark side. My aesthetic intention is twofold: it oscillates between the evocation of human vulnerability in front of the discrepancy of reality with desires and the reconciliation by a celebration of the poetic power of the banal.
In my two-dimensional works, the viewer's eye is invited to lose his bearings in an abundance of labyrinthine lines and accumulated patterns. Repeated until almost saturation of the surface, these patterns compose luxuriant, fantastical landscapes, which refer however to real places. Resting on the recollection and the interpretation of places, my practice of drawing questions the notions of landscape and truth. Thus, the mechanism of construction of reality and personal memory is subtly articulated.
My three-dimensional artworks are made of accumulations of domestic objects and found materials chosen for their physical quality, but also, and especially, for their power of evocation. With enticing effects of abundance, mystery, shadow play, fractal, mirror or colored light effects, I try to produce a tension between this raw material coming from mass production and an emotionally charged aspect.