Manuel Bisson’s practice arouses from the confrontation of opposites and the exploration of contrasts. He investigates both form and color, questioning the flatness of the canvas’ surface and the semiotic of figures. The abstract paintings of Bisson suggests forms associated with both human and animal figures. Hair and fur overlap bright fluorescent colors or on the contrary, washed-out, dirty color fields depicted on a wore-away background, almost absent. Private and visceral elements are hidden under geometric angular traits resulting in a dichotomy, an ambiguity between exhibitionism and modesty. Subsequently, forms are becoming objects. Immaterial, they stand out as multiple autonomous entities. Drawing is fluently mixed with painting in a mechanical process of reproduction, creating patterns or dissimilarities. A festive aesthetic deploys from Bisson’s formal explorations of firecrackers, banners, flourishes and vibrant colors as abstract elements of his compositions. The artist also creates tricks: forms and patterns evoke dilapidated wallpaper and faux bois. On the crossroads of pictorial sincerity and playfulness, Manuel Bisson, by the use of shams, creates artworks where ornamental and formalism cohabit.
With the second corpus (2015 artworks), the artist takes us into another universe. Here, one moves away from the figure (body human/animal/mineral) and we are transported in a series of improbable, futuristic, unreal landscapes… Manuel Bisson questions the environment, location, and architecture, without however incorporating figurative elements. Avoiding narration, the elements arranged in his paintings are simultaneously set in tension, contemplation, isolation and insecurity. The compositions range from the domains of the two-dimensional and the three-dimensional, space and canvas, shadows-objects and objects-nil. The oblique and the superimposed planes create cutaway perspectives and false assumed depths. Integrated subtly into his works, influences from the science fiction aesthetics of the 1970s and 1980s can be perceived, both in the treatment of the color and in the plans in suspension. Certain impressions of mystical universes and parallel retro-futuristic worlds can be perceived in this series. The comings and goings of this geometric theatre often takes place in a floating space without a figurative or structural anchor. In addition, this feeling of suspension is suggested by the meeting of abstract plans or light radiation that Bisson creates with his singular exploration of color and mediums.
Manuel Bisson, born in 1973, lives and works in Montreal. His artistic approach stands out mainly by two disciplines, which are performance and painting. He completed his Bachelor of Arts visuels et médiatiques at UQAM in 2011. However, his multidisciplinary artistic practice spans for more than 15 years. His performative works were presented in festivals and galleries across Canada and abroad, notably at the Galerie Le Logge and L’Arte studio Ginestrelle in Italy, in 2011. Since 2014, Manuel Bisson is represented by the Galerie Bernard, where his works have been presented in collective and solo exhibitions in 2014, 2015 and 2018. He participated at the contemporary art fair of Saint-Lambert and at the auction Clark26 in 2014. In addition, his artworks were presented at the Maison Antoine-Beaudry de Pointe-aux-Trembles in 2017, as well as in the contemporary art fairs PAPIER14-15-16.