closed for the remainder of the year

see you all in 2016 !

à 2016 !

NEW Billy Mavreas Colouring Book !

"Colour Me All Of Us !" is the first colouring book made by cartoonist and all around artist-type Billy Mavreas.

20 new drawings of bunnies and other cartoonish critters make up this sweet stocking stuffer !

20 $ Canadian
+
5$ shipping in Canada
7$ shipping in USA

Available now at Monastiraki. E-transfers accepted. Msg us for ordering details !
yesmonastiraki @ gmail.com

Old Fashioned SANTA returns to Mile-End !

This is no hipster BS this is a traditional guy in a Santa suit !!!

Come and get your photo taken with the man in red !

Toast&Q annual hat show Anti-Gravity

Défilé annuel TOAST&Q !! 
"Anti-gravity"
Défilé annuel et fête des chapeaux !!!

*Défilé à 5:45*

C'est un vernissage / défilé de la mode / fête des chapeaux pour une soirée seulement !! Très spéciale.........
Défilé des nouveautés à 5:45*

Many chapeaux from previous collections ( development of ideas ) will be displayed, will be tried on, will be sported joyfully, will be admired, oowed and awed at, will lift your spirits, will defy notions of sense and non-sense...
Come and have fun ! Run away and enjoy this little space circus !!
*there will be wine
*the défilé will run on time
merci, et à bientôt !

mardi 1 decembre 2015 17hr
tuesday dec 1st 2015 5pm

TOTUM zine launch & exhibit

TOTUM is a zine collecting the works of up-and-coming Montreal illustrators. With the 2nd volume now in the process of completion, we've decided to celebrate and put together an exhibition showcasing over two dozen contributions made by the diverse set of artists involved. Exhibiting works both unreleased and original spread through the first two issues, you'll get the chance to see all the illustrations in person, as well as the official launch of TOTUM Volume 2. 

VERNISSAGE
Friday, November 20th from 5-8 PM. 
The Event will be held at Monastiraki - Le Petit Monastère 
Food and drinks will be supplied. 

ARTISTS EXHIBITED
Alexandra Poulin
Tony Luzano
Dylan Cooney
Gabor Bata
Julian Bata
Kat Annett
Patrick Callahan
Annette Fanzhu
Kaia'tanoron
Mony Pich
Alex Marini
Sora Park
Trevor Yardley-Jones
Sara Hum
Antonio Sonnessa

Justin Bhatia / Samuel Moucha

Nov 11 - Nov 18

Justin Bhatia returns to Montreal with new drawings
Samuel Moucha leaves Montreal with an installation tribute to Nikola Tesla

Justin Bhatia:
Hooded rainbow shooting spectres, water coloured amidst skulls, flora, geologic abberations. Arcane RockNRoll art hinting at romance and invisible worlds.

Samuel Moucha:
The inspiration of the project derives from our fascination for Nikola Tesla's personality and inventions, which have been in many cases undervalued and forgotten. I initiated this project with composer Kota Nakamura

Optimistic Panorama Optimiste GRAHAM HALL

Optimistic Panorama Optimiste  GRAHAM HALL
Vernissage Thursday Oct 15, 2015

Les nombreux pavillons des expositions universelles de 1967 à Montréal et de 1970 à Osaka étaient des visions d'un futur plein de possibilités. Pourtant, aucun n'a été conçu pour survivre plus longtemps que la durée de l'événement. Très peu d'entre eux demeurent intacts, et ceux qui le sont semblent évoquer une époque qui n'a jamais réellement existé, à laquelle on n'aurait aspiré que le temps d'un bref moment. Nous nous remémorons cette période où tout était possible avec admiration et nostalgie. Nous la voyons en rose, débordante d'innocence et de bienveillance, alors que sa réalité était plutôt celle de la dégénérescence environnementale, des désastres économiques, de la guerre froide, de la corruption politique et du désordre social planétaire. Ces mêmes réalités persistent encore aujourd'hui, et semblent même s'être amplifiées dans l'imaginaire collectif. Cette impression est peut­être seulement due à notre manque de recul. Aujourd'hui, la désillusion semble être devenue un automatisme, l'optimisme et l'idéalisme appartenant à une époque révolue de naïveté crédule.

L'inventivité aussi semble être dépassée. Il est très à la mode de faire un spectacle de combien on est au courant des innombrables atrocités qui se produisent dans le monde. Pourtant, les artistes du passé dont nous admirons toujours l'avant­gardisme avaient à composer avec des éléments semblables : le totalitarisme, la guerre industrielle, des inégalités sociales inimaginables, le joug de la religion et l'effondrement total de l'ordre social. À travers le brouillard de l’adversité, ces visionnaires arrivaient à entrevoir un nouveau point de départ, et, au lieu de se lamenter de l'obscurité ambiante, ils ont cherché à faire renaitre la lumière. Ils savaient que c'est dans les décombres qu'on trouve de la place pour construire.

Nous réagissons passivement aux malheurs qui nous entourent. S'imaginer quelque chose implique une action, la nécessité d'envisager des possibles, même s'ils nous semblent chimériques. Parce que sans des perspectives positives, nous nous noyons dans un océan d'autocritique et de morosité.

Dans ce corpus, je fais écho aux modernistes, sans vouloir les copier gratuitement. Les géométries de Rodchenko, Schwitters, Klee, DeLaunay et des futuristes russes y sont. Il y a des relents du graphisme ésotérique, comme si ces images étaient plus que la somme de leurs parties. Elles ont quelque chose de théosophique.

Un pont est ainsi créé à travers le 20e siècle, constitué de visions d'avant­guerre et d'hallucinations de l'époque psychédélique, de rêveries romantiques et d'aspirations d'une conscience planétaire en paix. En somme, un pont soutenu par l'espoir et le rejet du cynisme.

Ces oeuvres représentent un plaidoyer pour une conspiration du bonheur, pour l'amour et une acceptation des imperfections, pour une utilisation de la débrouillardise qui nous élève au­dessus de nos différences. Au­dessus de la politique et de la religion, jusque dans la sphère de la vitalité de l'esprit. C'est une vision intrinsèquement utopique, mais bâtie sur une structure de réalisme. C'est une ode à l'optimisme et à l’espoir.

OPTIMISTIC PANORAMA

The pavilions in Montreal and Osaka of Expos ‘67 and ‘70 were visions of a future of possibility, yet none were built to last beyond the term of the event. Only a very few survive, and those that do not live on only in photographs which seem to evoke a time and place that almost never was, that was aspired to for the blink of an eye. We look back on these things with admiration and positive nostalgia for a time when things seemed possible. We cast the era as golden and innocent, when we know full well the ravages of environmental degradation, economic disaster, cold war frost, political corruption and violent social upheaval that spread their pall across the globe at the time. The same conditions exist today, seemingly amplified, but perhaps only so seeming, because we have not the advantage of hindsight on our current position. Yet now so much optimism and possibility­embracing are often considered naive, and stark bitterness is the go­to mode.
It seems to be terribly uncool to seek new creative invention, and very cool to show how cognizant one is of the shit­storm of horrible things happening to the world. Yet, the artists of the past whom we admire for forging new ground for the future had to contend with totalitarianism, industrialized war, social inequality unthinkable of today, the shackles of religion, even the total breakdown of social order. Through the haze of these difficulties, the visionaries of the past saw a Year Zero, and instead of bemoaning the hovering darkness, they sought to create anew the light of day. All may lie in ruin, but this provides space to build.
We are passively reactive to the ills around us. Imagining implies that we be actively active, that we move towards possibilities, no matter how hopelessly unrealizable they may appear. Because without the outlook of fantastic possibility we drown in gloom and critique­without­end.
In this body of work, a harkening back to early Modernism is evident, but not slavishly copied; the geometries of Rodchenko, Schwitters, Klee, DeLaunay, Russian Futurism. There is a hint of esoteric design, as though the pictures ought to be about more than just the sum of their parts. Theosophy could be at home here.
Thus there is a bridging of the 20th Century, from the visions of pre­war, to the hallucinations of the revolutionary psychedelic era, tapping Romantic fantasies and fevered dreams of a world mind at peace, of the belief in possibility rather than the retreat into cynicism.

It is a call for a conspiracy of happiness, a belief in love, an acceptance of imperfection and the harnessing of ingenuity to lift humankind beyond petty discriminations. It is beyond politics, beyond religion. It is about the life and health of the mind. It is Utopian in nature, but not in conception. It is a very long poem dedicated to describing positivity and optimism. 

MELANCHONSUMERISM by Alexis O'Hara

MELANCHONSUMERISM
Alexis O'Hara

Sept. 2015

Last week, I passed a billboard advertising the Yellow Pages app and was immediately overcome with melancholy. It used to be exciting to receive the new phonebook. I remember the thrill of spotting my name amongst the thousands of other O'Haras living in the city. Not my full name, mind you, as every mother had cautioned her daughter to only use her first initial lest the mention of a woman's name serve as an invitation -  Call me! - for rapists and predatory telemarketers. The white pages have, of course, gone the way of the 8-track tape.  And we can faux-piously claim death to the phonebook and its waste of trees as we line up to slip the newest, slightly sharper, slightly faster, portable radiation machine into our pockets. Considering the ubiquity of Google, one wonders how well the Yellow Pages will fare with their mobile reincarnation. Good luck.

While I mourn the corpses left in the wake of technological advances and the progress of post-modern modernity, I know that melancholy is a key motivator to the consumer impulse. We are always behind the curve. Find out what you've been missing. For some, there is no emotional block to throwing out one thing in order to acquire another. Other amongst us cling to a every broken whathaveyou , sure that eventually it will get fixed.

I've been noticing a lot of walkmen on the metro lately and I love it. Garbage pickers of the world, unite! We find poetry in a discarded note, a slightly chipped figurine, a quaint relic of antiquated ideology. We swoon at the endearing wtf-ness of a hand-typed recipe for a "salad" that requires canned fruit, gelatin and a can of 7-UP. We are charmed by the corsets of the past as we turn our noses up to the high-heeled sneakers of today.

But sometimes it's just so bloody amazing to discover just how vast and weird the world of consumer-goods-making can be. Behold this figurine, Betty the Beautiful, first issue in the Clowns on Parade collection, a limited edition series created by Roger Brown for the House of Global Art in 1987. Aside from a few ebay listings that highlight the competitiveness of Monastiraki's pricing, there is precious little information to be found online about Betty, Roger or the House of Global Art. Betty is truly mystifying, she'd make a rather perverse addition to Aunt Margie's tchotchke collection but is not quite obscene enough to make her way into the curiosity cabinets of the avant-weirdo shoppers.

One thing for sure is that she makes a lovely addition to Bow Town, the group exhibit curated by Zuzu Knew and Starchild Stela. Come check it out. You can marvel at the eerie parallel between Betty and Laura Harte's sexy clown. And while we're at it, we'll toast the rebirth of the cassette tape.

BOW TOWN ultra femme & feminist aesthetics group show

Starchild Stela and Zuzu Knew have been wanting to curate an art show featuring the ultra femme & feminist aesthetics for a while. Now, thanks to Billy Mavreas & Emilie O'Brien, we have a chance to do so in their space from September 16th to October 4th at Monastiraki - Le Petit Monastère in Montreal. 

The idea underlying this show is that we absolutely need to make Montreal a bow town, not a bro town. We are tired of the boring old mentality going around art galleries and feeling unsafe in the streets. We want softness and femme power to take over this city!

To be featured will be work around the concepts of:
Bow Town, Bows Before Bros, High Femme, Ultra Feminine, Hard femme/ Soft femme, Bows For Balance, Bow Down and infinity.

Vernissage will be held September 16 at 6PM. Vegan cupcakes will be served (from Byrdsheese - Fromages véganes!), and we will launch a zine and sticker pack featuring all the artists participating in the show!

♥♥♥ magical tunes provided by Dj shakti-in-flux ♥♥♥

Featuring artwork by local and international artists of different backgrounds and mediums:

-Ambivalently Yours
-Beth Frey
-Bethy Lamb ♥ In loving memory ♥
-Binx
-Clara B
-Cissa Jackson
-Fiona Smyth
-Flora Hammond
-Ginette Lapalme
-Holly Ruth Anderson
-Ian Langohr
-Ivy Atoms
-Jenn Woodall
-Jesse Purcell
-Jon Vaughn
-Jonny Petersen
-La Fille Bertha
-Laura Harte
-Laurence Philomene
-Lenore Claire Herrem
-Lindsay Campbell
-Lora Mathis
-Louise Reimer
-Lovestruck prints
-Naps
-Naylemonstre Art
-Mary Tremonte
-Mimi Chrzanowski
-Peter Kalyniuk
-Sarah Bourget
-Simon Fortin
-Sera Jolteon Stanton
-Squid Vishuss
-Starchild Stela
-SUGARBONES
-Swarm
-Sylvia Munson
-Tiffany Paige
-Tyr Jami
-Vile Child
-Yher
-Zuzu Knew

♥ This show is dedicated in the loving memory of Bethy Lamb ♥

CENT JOURS

100 Days - 100 Drawings

All summer long, the American cartoonist François Vigneault has been sketching buildings, people, and scenes of life in Montréal and other locales in Québec. These simple ink drawings and watercolors showcase quotidian city life, from well-known monuments to humble back alleys.

Please join us for a reception with the artist on Friday, September 11th from 6:00pm–10:00pm. Artwork will be available for viewing and purchase from September 11th – 13th.

100 Jours - 100 Dessins

Durant tout l'été, l'illustrateur américain François Vigneault a dessiné édifices, gens et scènes de la vie de Montréal et du Québec. Ces simples croquis à l'encre et aquarelles présentent la vie quotidienne, en passant par certains monuments bien connus jusqu'aux ruelles les plus modestes.

Joignez-vous à nous pour un vernissage en compagnie de l'artiste, le vendredi 11 septembre de 18h00 à 22h00. Les dessins seront disponibles pour achat du 11 au 13 septembre.

Francois' Patreon account !

WAXHEAD

a gallery to discover !

http://baronmag.com/2015/04/les-10-galeries-a-decouvrir-a-montreal/

New Flyer (Rough Cut)

DEMONS drawings by Billy Mavreas

DEMONS
Billy Mavreas

They aren't bunnies.
They never were bunnies.
They are demons.

Vernissage
Thursday June 11 2015 18-21hr

Zinedex - I'm a well guarded castle by Flora Hammond

Frosh Week horror comix anthology launch party

Join half of the artists, friends & sucker press for the Montréal launch of FROSH WEEK, a 56 page black and white body horror themed comic anthology, at Monastiraki this Friday May 15,  from 7-9pm!

^^^
the FROSH WEEK "ALPHA PACK" comes with a limited edition Michael DeForge print, a screen printed FROSH WEEK shirt and a copy of the anthology for an amazing deal!!

Carl Campeau - Mathieu Beauséjour

Carl Campeau  

Jours Ouvrables

Mathieu Beauséjour  

SPARE SOME SOCIAL CHANGE (NOTHING HAS CHANGED)

May/Mai 2015

vernissage vendredi 1 mai 18 - 21hr

Carl Campeau

Mathieu Beauséjour 

Carl Campeau vit et travaille à Montréal. Après des études en littérature et en cinéma, il glisse tranquillement vers l’art visuel. Autodidacte, il développe au fil des années une production artistique singulière dans les arts d’impression, qui se caractérise par une économie du langage plastique, par des formes géométriques simples, lignes droites, couleurs monochromes, où chaque action est déposée sur un support brut et immaculé. À mi-chemin entre l’art minimal et la nouvelle abstraction, que ce soit par ses collages, pastels ou sérigraphies, il réside toujours un désir de raconter une histoire à travers les vides laissés sur les œuvres.

Jours ouvrables
La littérature est toujours le moteur de ma création et le présent projet ne fait pas exception. Avec Jours ouvrables, j’exprime le désir de créer un dialogue entre le Frère Marie Victorin (né Conrad Kirouac), religieux canadien, botaniste et écrivain, et Jack Kerouac, écrivain, qui va au-delà du lien familial qu'on leur attribue. Jours ouvrables explore la quête des deux hommes à travers le territoire, la flore et la spiritualité. M’inspirant de la figure de style de la synecdoque, je tente de réduire les interventions sur le papier, dans l’espoir de créer un vocabulaire pictural simple qui laisse place aux interprétations les plus diverses. Jours ouvrables tente de caresser les souvenirs fanés d’une lecture marquante, d’une fleur qui éclôt ou le souvenir d’une porte de grange sur le bord de la route.

***********************

Mathieu Beauséjour works from a stand of resistance, corruption or “semiotic terrorism”. Employing diverse techniques, he overthrows materials and concepts of power, alienation, and oppression. His works gives both an ironic and a nostalgic feel within political and artistic avant-garde. He also makes use of cultural emblems such as currency, anthems and manifestos in order to explore today’s state of affairs. His work is contextual; it is created specifically for the space it occupies, whether it is a gallery, a site of intervention, printed paper or a moment in time.

Mathieu Beauséjour lives and works in Montreal. His style is diverse and hinges especially on installation art, performance, intervention, and printing. His works have been presented at numerous art centres, public and private galleries, biennials, and museums in Canada and Europe. His work has recently been presented in different group and solo exhibitions, such as the Musée Régional de Rimouski with the exhibition La Révolte de l'imagination - Une Rétrospective (which will be on display at centre d'exposition Expression de Sainte Hyacinthe in winter 2015), at the Musée d’art contemporain de Montréal during the exhibition La Beauté du geste in 2014, at the Quebec Triennial of 2011 and as part of the Manif d'art 7 de Québec in 2014. Mathieu`s work has been the subject of several exhibition catalogues, the most recent to be released in March 2015. He currently has an artist's studio at the Darling Foundry (Montreal) sponsored by the Montreal Museum of Fine Arts.
(text from galerie antoine ertaskiran)

ZINEDEX : Rewild by M. Morgan Baek

ZINEDEX : Pink Paper Drawings by Amanda Craig

Introducing ZINEDEX !

The intrepid Natalie Draz has inaugurated a new zine Indexing curatorial project entitled ZINEDEX showcasing zines available here at Monastiraki !

Here is the first instalment :

Look here for the permanent ZINEDEX home on this blog
This project will have it's own tumblr as well !

SECRET LIFE book launch

We are very excited to launch :

Secret life

Wednesday, A
8 April at 17:00 - 19:00pril 8th, 5–7 PM

Monastiraki - Le Petit Monastère, 5478 Blvd. St-Laurent

Quiet Spell's first publication, Secret life features drawings, photographs, and writing by a range of contributing artists who playfully explore the theme of the non-religious born-again. 

Donna Akrey

Elisabeth Belliveau

Lucie Chan

Sarah Febbraro

Pétur Már Gunnarsson

Caroline Loncol Daigneault

Zoë Poluch

Coco Riot

Pablo Rodriguez

Éric Simon

Michael Toppings

Valentina Vella

Jim Verburg

Please join our facebook event.

We hope to see you there!

Karin Zuppiger and Zoë Chan

INGRID GERBERICK - BE A BETTER PERSON April 2015

INGRID GERBERICK - BE A BETTER PERSON

BE A BETTER PERSON: is a series of small-scale textile works illustrating a collection of viable adages, banished thoughts and visual one-liners; both exploring and humourously critiquing the quest for self-improvement and personal growth. Intimate and decorative, the pieces are a nod to the North American women's tradition of embroidering religious or inspirational texts. While the traditional texts were produced primarily as household reminders to oneself and one's family of how best to live, Be A Better Person uses humour, cliche and confession to document personal best intentions,failures and doubts to a greater audience.

SOIS UNE MEILLEURE PERSONNE : est une série d’œuvres textiles à petite échelle illustrant une collection d’adages qui durent, de pensées bannies et de boutades visuelles ; tour à tour explorant et critiquant avec humour la quête de l’amélioration et du développement personnelle. Intimes et décoratives, les pièces sont un clin d’œil à la tradition féminine Nord Américaine de broderies de textes religieux ou sources d’inspiration. Alors que les textes traditionnels étaient d’abord créés en tant que pense-bêtes rappelant aux familles et à soi comment vivre mieux, Sois Une Meilleure Personne utilise l’humour, le cliché et la confession pour documenter nos meilleures intentions personnelles, nos échecs et nos doutes à un public plus large.

Vernissage Jeudi 9 Avril 18-21hr

Monastiraki is being HANDMODELLED !!!

Monastiraki is collaborating with handmodel.ca 
Watch this space !

To see our joint work pls look at our Collaborations page !

LAURA MADERA / MERE PHANTOMS

Laura Madera: LUMEN 

Mere Phantoms: Shadow Installation

Vernissage mercredi 4 fev, 18 - 21hr
expo 4 fev- 1 mar, 2015

During the dark winter month of February, Monastiraki celebrates light and shadow in two exquisite exhibitions. 

In LUMEN, Peterborough, Ontario artist Laura Madera's small to large-scale watercolours on paper fill our gallery walls with subtle colour shifts and meditations on being present and open to what is. 

Featured in Monastiraki's gallery window for the month of February, Mere Phantoms will show a selection of their intricately beautiful, three-dimensional paper cut-out "sets" from recent installations in Turkey ( Oyuna Gel // Come out and Play, Istanbul Biennial, 2013 ) and Denmark (Three Cities: Prayer/Protest, Brandts Museum, 2014).  As the sun goes down, the window will come alive in a play of shadow and light; a sure delight for passers by. 

** *** ** *** **

Laura Madera: LUMEN

The word Lumen means both a measure of the total amount of visible light emitted by a source as well as an opening, or light, within a body. With this collection of work Laura Madera takes the phenomena of light and unfolds it though subjectivity. Using the properties of watercolour, she works toward occupying a metaphysical space. Taking her surroundings, materials, body and desires as starting points, she grapples with the beingness of being here now.

Laura Madera received her MFA from the University of Guelph and a BFA from Emily Carr Institute in Vancouver, BC.

Her work initiates with questioning, and what follows is the result of negotiating, probing, and conversing within a process of making. For Madera this unpredictable shifting process of understanding can only be arrived at through a physical engagement with materials. The outcom­e she works towards is a quality of openness in meaning - a painting that refracts thought.

Content is something previously seen, thought, felt, dreamed of, which is then re-constructed or re-imagined through her studio processes. Madera's desire for these images to become paintings develops over time, slowly - out of a need to explore the edges and dimensions of the subject - a way to grasp in paint the seemingly ungraspable.

Laura Madera's work is held in private collections across Canada, the United States and the United Kingdom. Born in Toronto, Madera currently lives and works in Peterborough, ON and serves as a member of the Board of Directors for ARTSPACE.

** *** ** *** **

Mere Phantoms takes the experience of shadow play to a whole new level. Based in Montreal and founded in 2009, the creative studio combines intricate paper cutouts, drawings, videos and animation to create place-specific installations and performances. By inviting audiences to participate in creating and animating the work, directors Maya Ersan and Jaimie Robson design immersive environments that challenge traditional artist-audience relationships.

The creative practice that Ersan and Robson have been developing together since 2011 is inspired by shadow puppetry, animation, and early cinema, yet is distinct from these traditions. In traditional shadow puppetry the puppets are moved and animated from behind a flat screen, using a static light source to cast a shadow. Ersan and Robson construct intricate three-dimensional paper cutout “sets” that are placed in front of the projection screen making them integral to the installation. By combining multiple hand-held light sources the artists and their public audiences animate the artwork, playing with the size, scale, and intensity of the layered shadows that are cast.

--------------------------------------------

Laura Madera:LUMEN

Mere Phantoms: Installation dans la vitrine

Pendant la noirceur du mois de février, Monastiraki célèbre la lumière et l’ombre avec deux expositions exquises.

Avec LUMEN, l’artiste originaire de Peterborough, Ontario, Laura Madera, emplit les murs  de notre galerie de changements de couleurs subtils et de méditations sur l’art d’être présent et ouvert à ce qui se présente à nous,  avec ses aquarelles sur papier en petit et grand format.

Apparaissant dans la vitrine d’exposition de Monastiraki pour le mois de février, Mere Phantoms exposeront une sélection de leurs complexes et magnifiques ensembles de  silhouettes découpées dans du papier provenant de leurs récentes installations en  Turquie           ( Oyuna Gel // Come out and Play, Biennale d’Istanbul, 2013 ) et au Danemark  (Three Cities: Prayer/Protest, Musée Brandts, 2014). À l’heure du coucher de soleil, la vitrine prendra vie dans un jeu d’ombres et de lumière; un bonheur certain pour les passants.

**

Le mot Lumen a deux significations : la mesure totale de la lumière émise par une source de même qu’une ouverture ou lumière émise par un corps. Avec cette collection d’œuvres, Laura Madera observe le phénomène de la lumière et le déploie dans la subjectivité. Utilisant les propriétés de l’aquarelle, elle œuvre à occuper un espace métaphysique. Prenant ses environnements, matériaux, son corps et désirs comme points de départ, elle tâtonne et lutte

avec  l’existence de l’être dans le présent.

Laura Madera a obtenu sa maitrise en Beaux Arts à l’Université de Guelph et un BFA à L’Institut Emily Carr de Vancouver, en Colombie-Britannique.

**

Mere Phantoms élève l’expérience des jeux d’ombres à un tout autre niveau. Basé à Montréal et fondé en 2009, ce studio créatif joint de complexes silhouettes découpées dans du papier, des dessins, des vidéos et l’animation afin d’élaborer des installations et des performances spécifiques à certains lieux.

En invitant le public à participer à la création et à l’animation de l’œuvre, les directrices  Maya Ersan et Jaimie Robson élaborent des environnements d’immersion qui remettent en question les relations traditionnelles entre l’artiste et le public.