by Elaine Suyu Liu (Translation by Timothy Chang)
Lyse Lemieux’s recent series Untitled Dress in 2 Parts showcases strong visual style and explore the relationship between clothing and the wearer, and between object and subject.
Notably, each work is divided into two parts, aptly named in 2 Parts, which invites curiosity. Lemieux’s work often contains thought-provoking concepts that extend beyond mere visual changes and playfulness. By reflecting on her exploration of the interaction between the female form and the material, the viewer can infer that the deliberate division highlights contemporary issues faced by women: the upper part symbolizes intellect and rationality, while the lower part represents emotion and appearance. While modern women rely on intelligence in society, they often find themselves constrained by conventional societal standards, leading to a focus on appearance and attire.
Lemieux’s work is not only visually diverse and eye-catching but also rich in meaning, infused with humour and wit.
Relatred Journals
Personification
Essay
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)
Catalog Entry
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
Catalog Entry
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: T. Chang