Friday, December 2, 2016

Les Rebelles sont ici ! The Rebels are here !

Félicitations à nos artistes !

Congratulations to our artists !


Rebelles Rebelles 2016
Le Marché de Noël à Sutton nous amène de la belle visite. Les visiteurs qui découvrent Galerie Art Plus sont émerveillés devant la multitude d’œuvres exposées. Ce n'est pas le choix qui manque. Pour l'instant du moins. Plus d'une cinquantaine ont trouvé demeure.

The  Sutton Christmas market is bringing new visitors.
They discover Galerie Art Plus for the first time and are amazed at the amount of exhibited works. Such great choice! At least for now. More than fifty already sold. 

Les Rebelles Rebelles 2016
Rebelles Rebelles 2016

Rebelles Rebelles 2016 


Sunday, November 13, 2016

Thanks for the song Mr. Cohen.

À la galerie, on écoute Léonard Cohen en boucle.
L'exposition des Rebelles/Rebelles est si envoûtante avec cette trame sonore.
Chaque oeuvre vibre avec la musique. Il y a un poème, une chanson, une phrase, parfois même une note qui résonne et s'accroche à une peinture, un dessin...
Leonard, tu nous lègues une musique qui a du vécu, notre vécu. Voici quelques débuts de phrase qui m'on inspiré.


We are listening to Leonard Cohen at the gallery.
The exhibition Rebelles/Rebelles is so enticing with this sound track.
The works vibrate to the music. There is a poem, a song, a sentence and sometimes a note that resonates with a painting, a drawing...
Dear Leonard you leave us with such a gift. Your art is part of us all.
Here are a few song beginnings that inspired me. 


Take this waltz...

Johanne Durivage © Toccata

Maybe I'm still hurting...

Hélène La Haye © J'crois moi

She stands before you naked...

À bout de souffle © Lucie Hébert

Tuesday, November 1, 2016

Phase 1. Rebelles / Rebelles

Les Rebelles/Rebelles s'en viennent. Les murs sont prêts et les oeuvres veulent sortir du sac...

Rebelles/Rebelles are coming soon. The walls are ready and the art wants to come out of the bag...


Les Rebelles/Rebelles s'en viennent. Rebelles/Rebelles are coming soon.


Les murs sont prêts...the walls are ready


Et les oeuvres veulent sortir du sac...and the art wants to come out of the bag...

Thursday, October 6, 2016

John Marok à la Galerie Art Plus de Sutton

Hardi. Impudent. Parfois impudique. Voici John Marok dans La danse de la vie.
Au cœur du Festival Sutton Jazz et du Festival d'automne en montagne, John Marok vous invite à la fête avec des œuvres étonnantes, électrisantes. 

Une exposition qui éveillera tous vos sens. 

Audacious, impudent and sometimes immodest, 
this is John Marok in «La danse de la vie».
In the heart of Sutton, surrounded by Sutton Jazz and the Festival d’automne, we invite you to join in the colourful festivities with this stunning and electrifying exhibition. 

We promise it will awaken all your senses.

Eternal by John Marok


Thursday, September 15, 2016

«Leitmotiv» Article by Olivia Ranger-Enns




From September 1 to 25, Galerie Art Plus’ new exhibit, aptly titled “Leitmotiv”, features a clever combination of three distinctly unique artistic perspectives provided by Brigite Normandin, Akycha Surette and her mother, Susan Surette.
In their own unique ways, each artist’s contribution brings pause for thought by exploring diverse subject matters. Whether tackling subjects like the precarious state of the environment, life and death, topography and/or land forms, Brigite Normandin, Akycha Surette and Susan Surette embark on their own individual projects with zeal and dedication. Sound diverse enough for you?
Once again, Normandin has undertaken yet another ambitious project, this time studying butterflies. Having developed a fascination for these wild creatures since she was a child, Normandin has fine-tuned her approach by dabbling in earthy tones such as chocolate browns, jet blacks and creamy beiges. In so doing, she has been dedicating herself to reproducing butterflies on the canvas by paying careful attention to precision. While Normandin works on reproducing the anatomy and structure of each butterfly in excruciating detail, she also makes sure to add fun elements like door handles or markers to make her canvases both fresh and modern. “I’ve tried a more subtle approach this time,” explained Normandin. “My goal was to tackle the environment and talk about its fragility, but I wanted to do so in a manner that was less… aggressive.”
© Brigite Normandin

By correlation, Akycha Surette’s canvases explore a myriad of different subjects by understated means. Employing a Japanese minimalist style, Surette explores and brings to life the every-day world: viewers can come to appreciate a bicycle, a streetlight, stop signs, even traffic smoke under an entirely new angle. Working with gold leaf, it is possible to argue that Surette’s technique is a means of paying homage to well-known artists like Gustav Klimt. What is undeniable is that Surette can be hailed as a master with colors, making quietly powerful political statements by incorporating themes of childhood, violence, technology and military prowess in all of her artwork. It quickly becomes evident that Surette likes to draw parallels between the past and the present, highlighting important political events like atomic bombings in a manner that never shies from displaying reality as it is: dark, somber, yet alluring. Whereas one drawing depicts an androgynous-looking child lifting up his/her skirts to reveal skeletal legs and feet, another showcases healthy-looking children holding hands while a plane flies precariously close to their heads, atomic bombs featured in the lower bottom half.    
© Akycha Surette

Akycha Surette’s mother, Susan Surette, has developed a rich and passionate love for the Eastern Townships…a love which translates into her work. Having lived, ambled, hiked, swum, canoed and skied in the Eastern Townships for over 20 years, Surette decided to create a series of ceramic tiles to celebrate the environment she has grown to love. Inspired by her current art historical research into tile histories, especially those of medieval Islam and 18th century Dutch majolica, Surette’s “Eastern Townships” tiles reflect the beauty of the landscape by showcasing biomorphic patterns as well as paleontological and geological configurations. By placing geographic representations in parallel with creative designs of her own choosing, Surette’s ceramic tiles are wondrous in their uniqueness because of the many surprising configurations they offer to the viewer.
© Susan Surette


From September 1 to 25, come by and see for yourself… “Leitmotiv” is not to be missed! 

Saturday, August 20, 2016

« Échos du silence » vue par Olivia Ranger Enns

À de nombreux égards, l’exposition intitulée « Échos du Silence », qui fait connaître l’œuvre de Normand Moffat et de Bruno Tenti à la Galerie Art Plus de Sutton, nous invite à explorer comment la luminosité et la vie peuvent être captées, assimilées et célébrées... en silence.
Bruno Tenti ©

Ce mois-ci, la galerie se partage en deux espaces clairement définis : d’un côté, les tableaux abstraits de Bruno Tenti qui, d’une nuance d’ocre à une autre, se complètent tout en  s’opposant; de l’autre, les créations expressives de Normand Moffat qui, souvent avec beaucoup d’humour, jettent un regard lucide et pertinent sur les concepts constructionidentité et habitation. Les deux points de vue artistiques se démarquent carrément l’un de l’autre.  Tandis que Normand Moffat joue de la feuille d’or en la définissant d’accents d’ébène, les toiles de Bruno Tenti, si justement intitulées « Lueurs », sont un spectacle jubilatoire et une ode à la vie. Le style de Normand Moffat est cartésien, tandis que celui de Bruno Tenti est intrinsèquement organique. Dans le premier cas, l’artiste se penche sur des thèmes d’envergure, comme la manière dont l’architecture et la construction juxtaposent en les confrontant l’individu et le groupe; dans le second, la démarche est réflexion, voix intérieure. Néanmoins, le contraste entre les deux cheminements, qui peut laisser perplexe ou même, à l’occasion, sembler discordant, renvoie à une harmonie profonde.    
Dans « Lueurs », Bruno Tenti crée un monde lumineux au moyen de subtiles nuances. L’ocre et l’orange prennent vie lorsqu’on s’en approche, révélant des détails insoupçonnés. Ici, une mince figure représentant une croix, là, une palette soyeuse rehaussée de sanguine — Bruno Tenti surprend par son habileté à découvrir par la texture et la couleur une autre forme du réel. Ses outils, crayons et pinceaux recouverts d’une épaisse couche de peinture séchée, témoignent de sa démarche esthétique à la fois intrépide et audacieuse. (Les crayons et pinceaux de Bruno Tenti sont exposés à la galerie).
Normand Moffat ©

Constructum » offre une vision fascinante de l’identité et des démarcations sociales dans le monde contemporain. Comme le démontre son œuvre, la maison est un élément crucial à l’être humain : c’est un abri mais aussi le seul lieu privé auquel quiconque peut prétendre. Normand Moffat fait une critique subtile de l’étalement de la banlieue tentaculaire et propose finement des arguments qui démontrent comment les êtres humains interagissent en fonction des structures habitées. En apposant de la feuille d’or sur des motifs architecturaux, Normand Moffat fait appel à des thèmes essentiels tels la formation de groupes et les éléments qui construisent l’identité, sujets fort pertinents de nos jours. Certaines œuvres, comme celle intitulée « Je ne partirai pas » reposent sur l’introspection et le courage, tandis que d’autres sont cocasses – certains diront cyniques. Ainsi, dans « Le divorce, séparation de biens », une hache décisive tranche en deux la structure d’une habitation.

Au centre de la galerie, où se trouvait l’autel de l’église, domine une série de petits formats que Normand Moffat a intitulée « Scriptorium ». Chaque pièce, d’inspiration profondément religieuse, participe à la juxtaposition de surfaces noires et or. Les thèmes ici vont de la douleur à la foi en passant par la création, le temps et le silence. En rendant hommage aux moines qui consacrent leur vie à Dieu, Normand Moffat jette chaque fois un regard pur et renouvelé sur la religion.

Le silence est au cœur même du travail de Bruno Tenti et de Normand Moffat : savoir trouver le sacré dans la profonde réflexion, cibler ce qui est en soi digne d’être vécu. Cette exposition, à n’en pas douter, mérite amplement son titre, car elle rend hommage au silence si précieux, que notre époque essoufflée bafoue trop souvent.

Saturday, August 13, 2016

Article by Olivia Ranger Enns

À la Galerie Art Plus,  la nouvelle exposition « Échos du silence », a capté l'attention de la journaliste Olivia Ranger Enns. En exclusivité, voici la version anglophone. Nous aurons sa traduction française dans quelques jours.



In many ways, the exhibit titled “Échos du Silence” featuring Normand Moffat and Bruno Tenti at Galerie Art Plus is an invitation to explore a number of ways in which luminosity and life can be captured, reflected upon and celebrated... in silence.
For this month’s display, the gallery is divided into two clearly defined spaces: one dedicated to Tenti’s works, which delve into the abstract world where shades of ochre are pitted against one another, while the other section is dominated by Moffat’s expressive, often hilarious pieces that tackle the pertinent concepts of construction, identity and housing. There are many stark differences that delineate Moffat’s and Tenti’s aesthetic viewpoints. Whereas Moffat’s artwork features gold leaf defined by black accents, Tenti’s canvases, aptly titled “Lueurs”, are a jubilant expression and testament to life. Whereas Moffat’s works are Cartesian in style, Tenti’s are inherently organic. Whereas Moffat tackles big themes addressing how architecture and construction often confront the individual to the group, Tenti seems to approach his subject matter with a reflective voice. That being said, the contrast between the two artists, though often perplexing and at times even jarring, makes profound sense.    
© Bruno Tenti

Tenti’s “Lueurs” applaud a world of light and luminosity by working with shades of subtlety. The ochre and orange coloured canvases virtually come to life when seen up close because of the amount of detail that Tenti dedicates to each artwork piece. A blotch of colour here, a thin figure representing a cross there—Tenti delights in surprising the viewer with his canny ability in uncovering elements by playing with texture and colour. The tools of his trade, pencils and paintbrushes thickly coated in dried paint, bear testament to Tenti’s aesthetic approach, which is both fearless and adventurous in spirit. (Tenti’s pencils and paintbrushes are on display as well).
On the other side, Moffat’s “Constructum” offers a fascinating outlook on identity formation and on societal demarcations in today’s era. As Moffat’s work clearly expresses, a house is an important place for any human being: it provides shelter, creates a home environment, and is the only truly private place that anyone is completely entitled to. In subtly critiquing urban sprawls and suburbs, Moffat does not shy away from making light-hearted yet reflective arguments about how human beings interact with others based on housing structures. By combining architectural blueprints in the background with gold-leaf structures in the foreground, Moffat succeeds in addressing pivotal themes such as group formation and identity forgers, both pertinent subjects in today’s time and age. Whereas some art pieces are reflective and introspective in terms of mood such as “Je ne partirais pas”, others are laugh-out-loud funny in their cynical yet distinctly humorous depictions. Take “Le divorce, separation des biens” which depicts an axe slicing decisively into a house structure.
© Normand Moffat

The center of the art gallery, which happens to also be placed at the church’s altar, is dominated by a series of small pieces made by Moffat titled “Scriptorium”. Deeply religious in nature, each piece is a beautiful juxtaposition of blacks and shades of gold that address themes ranging from grief to faith to creation to time to the legacy of silence. By paying homage to monks who dedicate their lives to God, Moffat offers a refreshing take on religion, time and time again.
Scriptorium © Normand Moffat


Silence. That is what lies at the very heart of Tenti’s and Moffat’s works: the ability to find some sacred, something special, something worthy of note in the abyss of silence and deep reflection. In many respects, this exhibition truly deserves its title because it pays homage to silence, a precious and often ill-used notion in today’s busy world.

Monday, July 25, 2016

Liz Davidson article by Olivia Ranger-Enns


By Olivia Ranger-Enns
Liz Davidson’s brand new exhibit titled “En Construction” is beautiful and mesmerising in its complexity, its numerous flirtations with geometrical abstraction, and its homage to nature in a novel way.
Walk into Sutton’s art gallery Art Plus and you will be welcomed by large prints that play with shapes, colors and perspective. A photographer by nature, Davidson was initially intrigued by the myriad ways in which nature could be addressed and began snapping pictures of landscapes around her house in Sutton Junction at dawn and dusk, the arguably two most magical phases of the day. Back in her studio, Davidson worked on zooming into a particularly interesting section of a photograph until the picture itself became a series of lines, shapes and forms that balance and work off of one another.
The result morphed into a series of images that Davidson has cleverly called “En construction” (under construction) which reflect one of her personal philosophies in life. “I decided to call the exhibit “En Construction” because we are all under construction, in some way or another,” argued Davidson, whose life has been submerged into a full year of renovating her house, built around 1862. “It’s not just the house that was under construction, it is us as well. We don’t always get to reconstruct who we are in life,” she said.
“Dawns Early Light” (2016) for example features salmon-pinks cascading into tangerine oranges and sunny yellows. Four featured triangles (Davidson loves triangles) are carefully balanced adjacent to each other, creating a grid-like effect to the image. Other images like “Roof Lines” (2016), “Floor Plan” (2016), and “Roof Life at Dawn” (2016) pay homage to the complexities and intricate beauty of renovation outlines. If seen from a distance, each image showcases construction-like elements that denote house walls, chimneys or blueprints, depending on one’s outlook.

Fields © Liz Davidson

Other images like “Fields” (2016) marry mauves, turquoise greens and periwinkle blues together to create an abstract version of early summer Eastern Townships’ fields. “I realized that I don’t have to be anal about taking one single perfect picture,” said Davidson. “That way, I can take numerous pictures and mesh them together to create my idea of a perfect field.” Davidson rummaged through pictures she had taken more than 35 years ago in order to create a well-balanced collection that does justice to the beauty of her immediate surroundings.
Two prominent stand art pieces, created by the state-of-the-art company Deineri, did not go unnoticed by visitors at the art gallery. Integrating design technology and elegance, the Deineri stand-art is a 3-D model that features art in a unique space. “I was approached by two microbiologists working at Deineri,” said Davidson. “I was asked if I wanted to create art that they would use as stand-art pieces, and of course I said yes.” The idea behind Deineri stand-art is simple. Do you often complain of too little wall space to hang up another favourite piece of art? If so, Deineri stand-art is the way to go. Davidson’s stand art is a colourful and brightly lit as her images, which are a departure from her normal gamut of colors. “I never use bubble gum pink,” said Davidson reflectively as she gazed at one of the stand-art pieces showcasing a series of pinks. “It’s so girly, and so unlike me.” Characteristically, Davidson laughed and shook her head. The question left hanging was: who knows where her artistic tendencies will go next?
Davidson’s “En Construction” is on display from June 30 to July 31 at Sutton’s Galerie Art Plus at 8, rue Maple in Sutton. For more information, call (450) 521-3189. The gallery is open from Thursdays to Sundays from 1:00 p.m. to 5:00 p.m.

Cut line: “Dawns Early Light” is just one of the many images that combine mathematical preciseness with a wide gamut of gorgeous colors paying homage to the beauty of nature.

Dawn © Liz Davidson
 Photo courtesy: Liz Davidson



Thursday, July 21, 2016

Dusk... Crépuscule

The light comes into the gallery and Liz Davidson's work start to glow. The changes happen as you look closely. Colours appear one by one and you become captivated with the complexity of this art. Love struck for Dusk.


Dusk © Liz Davidson

La lumière pénètre la galerie et les oeuvres de Liz Davidson deviennent lumineuses. Les nuances subtiles apparaissent et tranquillement vous vous laisser saisir par la complexité de ses couleurs. Crépuscule m'ensorcelle. 

Wednesday, July 6, 2016

Luminosité / Luminosity

Les oeuvres lumineuses de Liz Davidson vous captiveront avec leurs fondues impeccables et leur brillant équilibre. Une grande artiste sans pareil.

Liz Davidson's luminous works will captivate you with their impeccable gradations and brilliant equilibrium. Truly an unparalleled artist.


© Liz Davidson

© Liz Davidson

© Liz Davidson