Parc national de Miguasha, Reception Pavilion| 231, route Miguasha Ouest
François Quévillon, Montreal (Québec) | francois-quevillon.com
Meteors brings us to the heart of a rocky archive. Created by François Quévillon in Gros Morne National Park, Newfoundland, in 2017, and taken a step further in the Gaspé during the summer of 2018, the exhibition deciphers the geological history of this area through a combination of photography and technology.
Photogrammetry, an algorithmic picture-taking technique, enabled the artist to capture each rock from different points of view and then reconstitute them in a hybrid image. At one and the same time moving and static, it reveals unsuspected details of geological formations and endows landscapes with a fresh appearance.
At the crossroads of science, technology and a mindful esthetic, François Quévillon composes a photographic world in which the laws of physics are reinvented. Meteors addresses in its own way global disturbances and those of the photographic image. Unsettling and fragmentary, these images evoke a chaos that slumbers in the tiniest elements of rocks. The mineral landscape finds new symbolic and poetic connotations with a universal echo here, so that the soil at our feet allows us to tackle questions relative to region, to matter and to space-time.
In the summer of 2018 the artist will be doing a creation residency in the Gaspé in order to integrate shots from Percé, Forillon, and the fossil-rich cliff of Miguasha National Park into the Meteors exhibit.
EXHIBIT AT RENCONTRES
François Quévillon has a special interest in the relationships between algorithms and photographic images. His interdisciplinary practice gives rise to an encounter involving installation, sound, image and technology.
His work has been presented at a number of international exhibitions and events, from Montreal (RIDM, Elektra, IDAB festivals) to São Paulo by way of the United States and Europe.
Opening the poetic breaches of chaos
Evocative of catastrophe and upheaval, CHAOS intends to be a bearer of forms both committed and poetic: abstract shapes evoke disaster with Fiona Annis; the landscape is destabilized by way of contemporary technologies for Isabelle Gagné or through old-time photographic techniques for François Quévillon and Janie Julien-Fort. These deconstructed and chaotic forms allow for a nourishing of the breeches in a weakened world thanks to a new, resolutely untimely poetry of the image.