New representation :
The Galerie Nicolas Robert is pleased to announce the new representation of Carl Trahan. You can see his work in the exhibition Carl Trahan. Because there is the night at the Musée National des beaux-arts du Québec, where twenty works are presented as part of his first solo exhibition in a museum. Until September 24, 2017.
Born in Montreal, Carl Trahan’s work has dealt with language and interlanguage, transposing ideas and concepts regarding translations into visual art. He is particularly interested in the very movement of translation, as described by Antoine Berman, a movement starting from the same (the known, the daily, the familiar) to go abroad (the unknown, the marvelous, the Unheimliche). The impossibility of obtaining a perfect double in this process leads him to reflect on the image and its reproduction as well as on the part of creation implied by this process of transcoding. He regularly uses drawing in his practice – with the intention, in particular, of making reconciliations with writing – but also uses other techniques, including neon, object and installation. Starting in 2011, he introduces a historical dimension to his work, which takes a look at the dark past of Europe. If, for example, he is interested in National Socialism and fascism and their origins in the nineteenth century, his most recent corpus concerns the period between the beginning of the second industrial revolution and the First World War World.
Current Exhibition :
May 13 to June 23, 2017
Opening on May 13 at 3 PM.
Omen of a new day
Always the Light
In the infinite shadow.
Cloud of the evening:
Rumour of a device
An image as a map
That is turned.
Through the workshop process where each material and intervention becomes significant, the exhibition unfolds. The sensitivity to colour, the affinity for simple shapes and the archetypal images lead this body of work. The exhibition is an assembly game where each element establish its dissimilarity in an eclectic ensemble.
The presage is about the creative mechanics as well as the image made as appearances. These are ideas that materialize. Thus, the artworks can be seen as warning signs or symptoms of a world.
In this world of representations, paintings are devices. They need to be activated to carry out their program. They are instruments that condition and are conditioned by our sensitivity.
Taking ownership of real-life elements through various methods such as the artisanal approach of industrial technical processes, the painter makes his way through the visual diversity and complexity of our time.
- Péio Éliceiry