Stéphanie L’HEUREUX

The work of Stéphanie L’Heureux gives equal importance to creative gestures and the final work. Her most recent series is mainly on Japanese paper. This handcrafted material is a remarkable medium for its lightness, flexibility and resistance. Always interested by formalist issues, the artist explores the properties of this traditional and environmentally friendly paper for creating geometric abstractions generated through her dyeing techniques. L’Heureux continues to develop her research on the use of indigo as an ancient and natural dye, a fascinating color that has survived the centuries and has become a culture in its own right. Thus, the artist applies her knowledge of textile and coloring by dyeing her own papers, which gives them the appearance of a fabric from another era.

Her works suggest the passage of time, marked by the careful work and repetitive folding and dyeing. It creates pyramidal patterns on the support; questions of form and balance arise. We can take pleasure in discovering these strong rhythmic compositions with full spaces, empty spaces and shades of monochrome colors, playing mostly in shades of blue and green.

Her works are bursting with high sensitivity. By giving, for the first time, evocative titles to her productions, Stéphanie L’Heureux transports us into a personal and emotional world. The titles of the series “dropouts”, “expectations”, “hope” or “fragilities” concede strong character traits to the papers originally soft, delicate. Reminding us of origami, patchwork or even mosaic, her artworks are saturated with tones of colors unique to nature and evoke a positive tranquility, or introspective states. Could this corpus symbolically represent our moods suspended in time? Our place in suspended time? Or, more over, the beauty and delicateness of our precious memories?

Stéphanie L’Heureux lives and works in Montreal. After studying art, she obtained a B.A. in Art History (Université Laval, Québec) and a M.A. in Esthetics (University of Sorbonne, Paris). She then pursued doctoral studies on Olmec sculpture (McGill University, University of Montréal, 1995-2000). Thereafter, she was Director of the artists center Diagonal (Montréal, 2002-2013) and is now Project Manager for the Art and Architecture Integration Service (1%) of the Ministry of Culture and communications of Québec, since 2016. She works mainly in painting. Her artworks have been part of solo exhibitions and are found in several private collections.

Les nudités 1, 2019

Les nudités 1, 2019

Indigo, papier japonais, 50 x 78 cm

Les pertes 1, 2019

Les pertes 1, 2019

Indigo, papier japonais, 40 x 50 cm

Les résiliences 1, 2019

Les résiliences 1, 2019

Teinture, papier japonais, 50 x 60 cm

Les déceptions 1, 2019

Les déceptions 1, 2019

Indigo, papier japonais, 40 x 50 cm

Les cicatrices 1, 2019

Les cicatrices 1, 2019

Indigo, teinture, papier japonais, 61 x 42 cm

Les résiliences 2, 2019

Les résiliences 2, 2019

Teinture, papier japonais, 40 x 34 cm

Les espérances 2, 2019

Les espérances 2, 2019

Indigo, papier japonais , 50 x 40 cm

Les fragilités 2, 2019

Les fragilités 2, 2019

Teinture, papier japonais, 42 x 39 cm

Les espérances 1, 2019

Les espérances 1, 2019

Indigo, papier japonais, 40 x 50 cm

Les inquiétudes 1, 2019

Les inquiétudes 1, 2019

Peinture à l’huile, mylar, or 23 carat, 60 x 84 cm

Les inquiétudes 3, 2019

Les inquiétudes 3, 2019

Peinture à l’huile, papier japonais, or 23 carat, 50 x 79 cm

Les inquiétudes 2, 2019

Les inquiétudes 2, 2019

Peinture à l’huile, papier mylar, or 23 carat, 55 x 85 cm

Les inquiétudes 4, 2019

Les inquiétudes 4, 2019

Peinture à l’huile, mylar, or 23 carat, 61 x 91 cm

Les Angoisses 3, 2019

Les Angoisses 3, 2019

Peinture à l’huile sur papier mylar, 35 x 49 cm

Consult the visual pamphlet for the exhibition “Suspendue”:

You may download the pamphlet using the toolbar on the bottom of the visualizer.

DISCOVER THE ARTIST IN HER STUDIO (Exhibition duo with RICHARD CLOUTIER, August / September 2015)