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Paméla Landry
From January 11th 2002 to February 16th 2002
Le Centre de la caresse

Fascinated by machines and also by the possibility of understanding the human soul, Paméla Landry builds sculptures that, although they suggest the portrait mode, do not borrow its form. Her masculine-looking assemblages of heterogeneous objects lend their appearance to feminine voices, working towards a disturbing and unstable identity.

The three interactive sculptures composing "Le Centre de la caress"e evoke different states of involvement, discovered and explored as one touches, embraces or simply listens. The ensemble is comprised of Le Poste des contentements, Le Rayon du besoin and L’Aile de l’abandon.

Disheartened by the notion of a world where everything has its place and function, Paméla Landry proposes sculptures that divert and confound identities, and offers them as alternative solutions. In her sculptures, the seeming coherence of a whole opens up to the derisive and the absurd when manipulation and interaction occur. Pamela Landry has participated in numerous group and solo exhibitions across Québec and Canada. Her most recent shows include "Le Ludique" at the Musée du Québec, "Machining in the Digital Age: Bricoleur Urbane" at Open Space in 2001, "Les Iconoclastes", curated by Gaston Saint-Pierre at the Chapelle historique du Bon-Pasteur in 1997, and "Tes yeux" at B-312 in 1997 and the Richmond Art Gallery in 1999. She also curated "Machines festives", presented at La Centrale in 1999 and showing again at L’Œil de Poisson in 2002. Paméla Landry lives and works in Montréal. She has taught at the Cégep du Vieux Montréal since 1995.

Bibliographie
- Delgado, Jérôme, «Se frotter à l’art», La Presse, 21 janvier 2002, p.C4.
- Lamarche, Bernard, «À marquer de pierres blanches», Le Devoir, 19-20 janvier 2002, p.C10.
- Mavrikakis, Nicolas, «Rentrée culturelle d’hiver», Voir, 10-16 janvier 2002, p.18.
- «Fast Forward», Canadian Art, vol. 18, no 4, hiver 2001, p.20.
- Mavrikakis, Nicolas, «Touche-moi», Voir, 4 au 10 avril 2002, p.46.