Photo: Nathalie Bujold / Ellephant
Nathalie Bujold, “Advanced to a point of frantic escape”, 2018
Artist of weaving without being a weaver (although…), Nathalie Bujold is dedicated since the 1990s to marry all kinds of universes, often the opposite, as the traditional and the innovative. She touched a little bit of everything, from music to art Web — see the project Hooray for the pitoune. Though it has often produced objects, including textiles, thread of continuous still video art.
The exhibition flowers of the carpet, in the gallery Ellephant, presents five recent videos (all 2018), derived from the long tradition personal to the artist. In it, an image, or any other, are constructed from disparate elements. Once assembled, gathered together, they blend naturally with each other, merge.
This exhibition, one of the few solos of Nathalie Bujold in 20 years, but his third since 2015, has something refreshing. It must be said that the gallery Ellephant, by its location in the margin of the premises to passers-by and by her almost tiny space, is the only one of its kind. The owner, Christine Redfern, proves that you can do a lot with a little, and without fuss.
The phrase “the flowers of the carpet” refers to the false step, error, but also of the ways convoluted to do things. It is this second idea that better represents the practice of the artist, including his new body video.
Why make it simple when you can make it complicated, no ? Especially when behind this work of tinkers, there’s a about. The five works talk about the way to go, the territories that it crosses, and which constitute not only the memory, but a lifetime. Even though these ” wanderings “, or ” go-back “, to quote the titles of two videos, distort the nature expected of things.
The crossbreeding of Bujold is expressed first of all here in the staging of the expo. Not a media that repeats itself. There is a projection on a monitor (Wandering in the eagerness to work II) to be directly on the wall. The small screen alongside the huge key to earth (Advanced to a point of frantic escape). Round-trip in the unknown that lies at our feet is a video to multiple channels, while for Sentiertissé, the lining of the screen is projected, yes, on the floor.
In his videos, Nathalie Bujold mixture, by juxtaposition than by layering different sources of images. The result peuts’equivalent to an abstraction or to plaid patterns, such as tartans, as it is often suitable.
Go-back…, may be the work lighthouse, recounts a train trip Toronto-Montreal, as if the artist had left the camera filming everything along the way. It mixes, however, what she obtained, by projecting simultaneously to two image sources, but alternately on the screen.
It splits the image into thin strips vertical. The pace, at once jerky and regular, has something to do with music. Or, in the case where the sequences fall in neighborhoods mostly chromatic, the work is reminiscent of the vertical stripes of an array of Molinari.
Photo: Nathalie Bujold / Ellephant
Nathalie Bujold, “Go-back into the unknown that waits at the foot of the work”, 2018
The constant motion becomes sinuous, not to say twisted and toppled, in the works to Transport the overflow of our concerns , and Advanced… Here, the real remains recognizable (a dock, a bridge), but the process is more subtle, to tamper with the images gives them a greater strangeness.
This fusion between strangeness, or unexpected, and familiarity, or daily, is the subject of the text that accompanies the exhibition. Invited to write about the recent work of Nathalie Bujold, the French philosopher Bruce Bégout is noted by a bold balance between facts to the contrary. He calls this ” concordia discors “, or ” agreement in disagreement “.
In his eyes, the works of montreal artist are part of this human need to drink the game of opposites, a tension that sustains and decays at the same time the daily life “.
“The distinction, familiar/alien, it is this which constitutes the essence of the everyday. Everything that is quotidianise during a life between in the game of this fundamental tension, and seeks, in vain, to escape, writing Bégout. Without the foreigner, that is to say, without the absolutely other, the unknown, the limitless, the immeasurable, the daily would make no sense. “
Nathalie Bujold, from the time of In wing in eh, the travelling exhibition that was revealed at the end of the 1990s, has never stopped searching for the bibitte rare. The vernacular, or folklore (such as the song of Oscar Thiffault, whose accent is the source of the title of the distant expo) are valuable sources.
The flowers of the carpet
Nathalie Bujold. The gallery Ellephant, 1201, rue Saint-Dominique, Montreal, until 3 January.