My collage and photographic techniques are closely related: slightly disquieting images in which the landscape unfolds in a threatening manner, referencing an unleashing of the elements.
Illusions of perspective are used to create vertigo and surprising foregrounds. The humans in these stagings are not victims of wild landscapes, we have the impression that they provoke them by incantations and ritual dances.
Catherine Plaisance’s practice is characterized by an inquiry dealing essentially with the aesthetics of catastrophe. To explore this topic, she uses various media, such as photography, video, collage, and drawing. Her recent work uses the properties of miniature to create scenes in which the landscape is disrupted by an event that suddenly upsets the normal unfolding of the way things go. These miniatures events then become an image, being retranscribed by photography and video. Her work has been shown, among other venues, at Galerie Sans Nom (Moncton, New Brunswick, 2004), at the Maison de la culture Mont-Royal (Montreal, 2008), at Galerie SAS (Montreal, 2009), at Galerie Simon Blais (Montreal, 2011), at the VU Photo Centre as well as at La Bande Vidéo (Quebec City, 2012) and centre Plein sud (Longueuil, Quebec, 2015).
She has taken part in several group shows, including Manif d’art 3, the Quebec Biennial (2005), (Im)mortal Love International Biennial Warsaw (2007), Peep Art/Art Voyou (L’Écart, 2009), Crafting Romance (ATHICA, 2009), Se creuser les méninges (Galerie BAC, 2013), Vestiges (Galerie BAC, 2015), Proof 22 (Gallery 44, 2015) and La réalité n’est qu’un point de vue (Stewart Hall, 2016) In summer 2017, she was invited to the Symposium d’art contemporain de Baie-St-Paul. She was active in the artists’ collective Les Fermière Obsédées from 2001 to 2009. Catherine Plaisance holds a Master’s degree in Visual and Media Arts from UQAM, which was financed by the Fonds québécois de recherche sur la société et la culture. She lives and works in Montreal, Canada.