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Marie-France Brière
From November 16th 1995 to December 16th 1995
Detroit

Curator : Sylvie Parent

The recent sculptures of Marie-France Brière appear as formal constructions: blocks, columns and panels. They suggest fields of absence and expectation. They do not function as structural supports, nor do they relate directly to object or image. Animated by sense of absence, they ask to be elaborated upon. As a result our attention is also drawn towards the space between each component and their respective material properties.

Conceived in pairs, these sculptures stress the ideas carried by ach element and its likeness. Like magnets, they attract and repel while consuming the space which divides them. In their duality, each sculpture seems to look towards its other. The viewer, in contemplation of this, is drawn into the dynamic field of their dialogue.

Constructed of stone and plaster, the physical properties of these materials are emphasized, The black and white of their surfaces pushes this contrast even further. Fundamental binary oppositions are presented: dark-light, fullness-emptiness. These surfaces or screens are open to a multitude of readings.

Weight and ephemerality are juxtaposed and then conflate. Plaster, a material of transition and transformation contests the immutability of the stone. Is it this plaster surface that modeled the rock, or the other way around?

The pictural qualities of surface and the “sedimentary content” beneath are dynamic collusion. If they allude do anything in particular: cliff faces, an expanse of ice, or nebuli, these sculptures also propose a “realization of worlds” which changes with each viewer.
- Sylvie Parent (October 1995)
- Press release(Optica)

The artist's biograhy is available in French only :
Marie-France Brière terminait en 1989 une maîtrise en arts plastiques à l'Université du Québec à Montréal où elle donne des ateliers de sculpture sur pierre. «Dans ses oeuvres, les tensions qui existent entre les surfaces et les voluments plats sont dynamisées par une utilisation juste et signifiante des matières qui portent en elles leur propre potentiel pictural», comme l'écrit Sylvie Parent. «LAC» (1994), que l'on a pu voir à Axe Néo-7 à Hull, «Groupe-Fantômes» (1992) au Centre Expression à Saint-Hyacinthe et «Fantômes» (1991) à La Centrale à Montréal s'inscrivent dans un corpus d'oeuvres qui «établissent un contact intense» avec le spectateur ou la spectatrice. En 1994, elle expose en solo à la galerie Christiane Chassay de Montréal. En sus d'avoir participé à plusieurs expositions de groupe, dont entre autres «Artedomani Punti Di Vista» (1992) à Spolète en Italie sous la direction de Sylvie Parent, Marie-France Brière s'intéresse aussi à la problématique de l'oeuvre publique comme le démontrent ses réalisations dans le cadre du programme de l'intégration des arts à l'architecture («Un nouveau Musée... pour rire», Montréal, 1992) ou pour le cimetière Mont-Royal (Quadrata, 1993).


Bibliographie
- Couëlle, Jennifer, «Le vieux couple ‘nature-culture’ sur fond de lianes», Le Devoir, 2-3 décembre 1995, p.D11.