Lyse Lemieux’s interdisciplinary practice has focused on drawing and also includes sculpture, painting, and installation. In recent years Lemieux has expanded her practice to include outdoor large scale Public Art with projects that consider the physical, emotional and communal environments these spaces offer. Through considerations of process and materiality her work continues to explore the space between abstraction and representation, while maintaining a strong connection to the human and sometimes not so human figure.
Originally from Ottawa, Lyse Lemieux attended the University of Ottawa and graduated with a BFA from the University of British-Columbia. She has exhibited nationally and internationally including the Canadian Cultural Centre in Rome, the Vancouver Art Gallery, Oakville Galleries, Richmond Art Gallery, Trépanier-Baer Gallery in Calgary, Katzman Contemporary, Toronto; Wil Aballe Art projects, SFU Gallery, and, the Contemporary Art Gallery in Vancouver. Lemieux has been awarded grants from the BC Arts Council, the Canada Council and is recipient of the 2017 VIVA AWARD granted annually by the Jack and Doris Shadbolt Foundation for the Visual Arts.
So Dawn Goes Down To Day – Art Gallery at Evergreen
Lyse Lemieux’s So Dawn Goes Down To Day opens Sept 17 at the Art Gallery at Evergreen. The solo exhibition focuses on the Vancouver-based artist’s recent paintings, as well as an accompanying sculpture that points to the ongoing influence of textiles in Lemieux’s interdisciplinary practice.
Lyse Lemieux, Dorsale. La Couleur de mes mots, 2022 © Lyse Lemieux. Photo: Rachel Topham
A common theme in Lyse Lemieux’s latest works is the presence of strange figures that bare loose resemblance to human beings. In both Hiatus and Tree Figures, the figures stand upright and appear to have bipedal appendages capable of walking. In Sans Titre (Jambes), although the number of appendages grows disproportionately high, the figure nonetheless bares human-like facial features, depicted clearly in profile view. Yet, in all three paintings, the figures are fundamentally non-human. Instead, they appear as fantastical beings akin to mythological creatures.
Lyse Lemieux, Hiatus, 2022 © Lyse Lemieux. Photo: Rachel Topham
Sans Titre (Jambes)
What captivates the viewer’s eyes in Lyse Lemieux’s latest works is the apparent strangeness of the image. In Sans Titre (Jambes), a figure is comprised of six or seven leg-like appendages of various shapes and sizes. The top of the figure features a head in profile raised slightly towards the left, while a full face with squinted eyes protrudes jarringly to the right. Although the figure’s anatomy is puzzling, the symbolism provides clear insight into the mind of the artist.
Lyse Lemieux, Sans Titre (Jambes), 2022 © Lyse Lemieux. Photo: Rachel Topham
White Gloves, Gants Blancs
Textiles is an on-going theme in the art of Vancouver-based artist Lyse Lemieux, encompassing her painting, sculpture, and installation. The practice of adorning ourselves in textiles is unique to us as human beings and shared globally across cultures. Similarly, clothing gives us a sense of identity and brings individuals together as a group. Yet, clothing is too often used to discriminate and set individuals or groups apart from the other.
Lyse Lemieux, White Gloves, Gants Blancs (detail), 2022 © Lyse Lemieux. Photo: Rachel Topham