Catherine Bolduc is a visual artist born in Quebec (Canada) in 1970. She lives and works in Montreal. She had several solo and group exhibitions in Quebec and abroad (Germany, Spain, France, Netherlands, United States). She stayed in various artist residencies abroad, including the prestigious Künstlerhaus Bethanien in Berlin, the Studio du Québec à Tokyo and, in the frame of Pépinières européennes pour jeunes artistes, the National Sculpture Factory in Cork, Ireland. She has received 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 fourth permanent public sculpture has been inaugurated in Fall 2016.
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 transgressing 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 revisited desire is subjected to the ordeal of reality, illusion faces disillusion and deception head-on. 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 get lost 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; the mechanisms of construction of the reality and the personal memory are subtly articulated there.
My three-dimensional works are made of accumulations of domestic objects and found materials chosen for their plastic quality, but also, and especially, for their power of evocation. With enticing effects of abundance, mystery, mise en abyme, mirror effects or colored lights, I try to produce a tension between this raw material coming from the mass production and an emotionally charged aspect.