[et_pb_section fb_built=”1″ custom_padding_last_edited=”on|desktop” admin_label=”section” _builder_version=”3.22″ custom_padding_tablet=”50px|0|50px|0″ custom_padding_phone=”” padding_mobile=”off”][et_pb_row padding_mobile=”off” column_padding_mobile=”on” admin_label=”row” _builder_version=”3.25″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_padding=”26.1719px|0px|0px|0px”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text _builder_version=”3.27.4″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” inline_fonts=”Arimo”]<\/p>\n
KARINE FR\u00c9CHETTE <\/span><\/p>\n \u00a0<\/span><\/p>\n [\/et_pb_text][et_pb_gallery gallery_ids=”8176,8171,6245,6243,6242,6241,6238,6236,6235,6233,6231,6230,6228″ gallery_captions=”Karine Fr\u00e9chette, Cascade 9, 2017, Acrylique sur toile, 129,5 x 183 cm \/ 51 x 72 pouces \u00a0<\/p>\n [\/et_pb_gallery][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”2_3,1_3″ padding_mobile=”off” column_padding_mobile=”on” _builder_version=”3.25″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_padding=”0px|0px|26.1719px|0px”][et_pb_column type=”2_3″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.4.8″ text_font=”Arial|300|||||||” header_4_font=”Arial|300|||||||” header_4_font_size=”14px” header_4_line_height=”1.4em” background_size=”initial” background_position=”top_left” background_repeat=”repeat” hover_enabled=”0″]<\/p>\n <\/p>\n <\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.0.9″ header_font=”Arial||||||||” header_4_font=”Arial||||||||” header_4_font_size=”14px” header_4_line_height=”1.4em” background_size=”initial” background_position=”top_left” background_repeat=”repeat” inline_fonts=”Georgia”]<\/p>\n <\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_divider show_divider=”off” disabled_on=”on|on|off” _builder_version=”3.23.4″ height=”35px”]<\/p>\n [\/et_pb_divider][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ custom_padding_last_edited=”on|desktop” _builder_version=”3.22″ custom_padding=”54px|0px|9px|0px” custom_padding_tablet=”50px|0|50px|0″ custom_padding_phone=”” padding_mobile=”off”][et_pb_row padding_mobile=”off” column_padding_mobile=”on” _builder_version=”3.25″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_padding=”0px|0px|0px|0px”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text _builder_version=”3.27.4″ background_size=”initial” background_position=”top_left” background_repeat=”repeat”]<\/p>\n EXPOSITIONS PAR ANN\u00c9E<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ fullwidth=”on” custom_padding_last_edited=”on|desktop” admin_label=”section” _builder_version=”3.0.74″ background_color=”rgba(2,255,221,0.32)” custom_padding=”0px|0px|0px|0px” custom_padding_tablet=”50px|0|50px|0″ custom_padding_phone=”” transparent_background=”off” padding_mobile=”off” global_module=”1033″][et_pb_fullwidth_menu menu_id=”30″ submenu_direction=”upwards” fullwidth_menu=”off” active_link_color=”rgba(170,102,0,0.7)” _builder_version=”3.19.10″ menu_font=”|||on|” menu_font_size=”13px” menu_line_height=”0.15em”][\/et_pb_fullwidth_menu][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" KARINE FR\u00c9CHETTE \u00a0\u00a0 Karine Fr\u00e9chette vit et travaille \u00e0 Montr\u00e9al. Sa pratique picturale entend susciter une exp\u00e9rience autant spatiale, optique que physique. Des affinit\u00e9s se pr\u00e9sentent avec le Op art, l’abstraction du d\u00e9but du vingti\u00e8me si\u00e8cle et l’esth\u00e9tique psych\u00e9d\u00e9lique. Les gestes picturaux tissent attentivement des r\u00e9seaux de motifs dont le lent labeur aboutit paradoxalement […]<\/p>\n","protected":false},"author":1,"featured_media":6242,"comment_status":"open","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":" [et_pb_section admin_label=\"section\" global_module=\"1058\" transparent_background=\"off\" allow_player_pause=\"off\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"on\" padding_mobile=\"off\" make_fullwidth=\"off\" use_custom_width=\"off\" width_unit=\"off\" custom_width_px=\"1080px\" custom_width_percent=\"80%\" make_equal=\"off\" use_custom_gutter=\"off\" fullwidth=\"off\" specialty=\"off\" disabled=\"off\"][et_pb_row global_parent=\"1058\" admin_label=\"row\" make_fullwidth=\"off\" use_custom_width=\"off\" width_unit=\"off\" custom_width_px=\"1080px\" custom_width_percent=\"80%\" use_custom_gutter=\"off\" gutter_width=\"3\" padding_mobile=\"off\" allow_player_pause=\"off\" parallax=\"off\" parallax_method=\"on\" make_equal=\"off\" column_padding_mobile=\"on\" parallax_1=\"off\" parallax_method_1=\"on\" parallax_2=\"off\" parallax_method_2=\"on\" parallax_3=\"off\" parallax_method_3=\"on\" parallax_4=\"off\" parallax_method_4=\"on\" disabled=\"off\"][et_pb_column type=\"4_4\"][et_pb_text global_parent=\"1058\" admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\" use_border_color=\"off\" border_style=\"solid\" disabled=\"off\" border_color=\"#ffffff\"]<\/p> [\/et_pb_text][et_pb_gallery global_parent=\"1058\" admin_label=\"Gallery\" gallery_ids=\"252,251,250,249,248,247,246\" fullwidth=\"off\" show_title_and_caption=\"off\" show_pagination=\"on\" background_layout=\"light\" auto=\"off\" auto_speed=\"7000\" hover_overlay_color=\"rgba(255,255,255,0.9)\" caption_all_caps=\"off\" use_border_color=\"off\" border_color=\"#ffffff\" border_style=\"solid\"] [\/et_pb_gallery][et_pb_text global_parent=\"1058\" admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\" use_border_color=\"off\" border_style=\"solid\" disabled=\"off\" border_color=\"#ffffff\"]<\/p> BIOGRAPHIE<\/p> N\u00e9e \u00e0 Montr\u00e9al en 1954, vit et travaille \u00e0 Montr\u00e9al.<\/p> La peinture est le sujet du travail de Francine Savard. Clins d'oeil enjou\u00e9s \u00e0 la peinture formaliste, les toiles de Francine Savard, mises en espace d'une mani\u00e8re tr\u00e8s sp\u00e9cifique, se r\u00e9v\u00e8lent simultan\u00e9ment dans l'\u00e9vidence de la minutie extr\u00eame de leur processus de fabrication et dans leurs complexes r\u00e9seaux de r\u00e9f\u00e9rences \u00e0 l'histoire et au discours de\/et sur la peinture.<\/p> Histoire des Expositions<\/p> Born in Montr\u00e9al in 1954, lives and works in Montreal.<\/p> Painting is both the subject matter and the form of Francine Savard's work. Playful allusions to specific moments in the history of modernist practice, her meticulously painted monochrome canvasses, often shaped, draw on a complex knot of references to conceptual approaches, motifs and paradigms to renew the poetics of the painted image.<\/p> Exhibition History<\/p> [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section admin_label=\"section\" global_module=\"1033\" transparent_background=\"off\" background_color=\"rgba(2,255,221,0.32)\" allow_player_pause=\"off\" inner_shadow=\"off\" parallax=\"off\" parallax_method=\"on\" custom_padding=\"0px|0px|0px|0px\" padding_mobile=\"off\" make_fullwidth=\"off\" use_custom_width=\"off\" width_unit=\"off\" custom_width_px=\"1080px\" custom_width_percent=\"80%\" make_equal=\"off\" use_custom_gutter=\"off\" fullwidth=\"on\" specialty=\"off\" disabled=\"off\"][et_pb_fullwidth_menu global_parent=\"1033\" admin_label=\"Fullwidth Menu\" menu_id=\"30\" background_color=\"#ffffff\" background_layout=\"light\" text_orientation=\"left\" submenu_direction=\"upwards\" active_link_color=\"rgba(170,102,0,0.7)\" menu_font=\"|||on|\" menu_font_size=\"13px\" menu_letter_spacing=\"0px\" menu_line_height=\"0.15em\" disabled=\"off\"] [\/et_pb_fullwidth_menu][\/et_pb_section]<\/p>","_et_gb_content_width":"","footnotes":""},"project_category":[31,90],"project_tag":[111,112],"yoast_head":"\n
,Karine Fr\u00e9chette, Grande Spirale, 2017, Acrylique sur toile, 183 x 213 cm \/ 72 x 84 pouces
,Karine Fr\u00e9chette, Grande Spirale 2, 2017, Acrylique sur toile, 183 x 198 cm \/ 72 x 78 pouces
,Karine Fr\u00e9chette, Plong\u00e9e 4, 2017, Acrylique sur toile, 61 x 61 cm \/ 24 x 24 pouces
,Karine Fr\u00e9chette, Petite Spirale 2 (vestiges), 2017, Acrylique sur toile, 183 x 152,5 cm \/ 72 x 60 pouces,Karine Fr\u00e9chette, Cascade 5, 2016, Acrylique sur toile, 122 x 137 cm \/ 48 x 54 pouces
,Karine Fr\u00e9chette, Cascade 7, 2017, Acrylique sur toile, 142 x 127 cm \/ 56 x 50 pouces,Karine, Fr\u00e9chette, Petite Spirale, 2017, Acrylique sur toile, 183 x 157,5 cm \/ 72 x 62 pouces,Karine Fr\u00e9chette, Plong\u00e9e 5, 2017, Acrylique sur toile, 61 x 66 cm \/ 24 x 26 pouces
,Karine Fr\u00e9chette, Cascade 8, 2017, Acrylique sur toile, 152,5 x 122 cm \/ 60 x 48 pouces,Karine Fr\u00e9chette, Extraction scintillante 4, 2017, Acrylique sur toile et contre-plaqu\u00e9, environ 183 x 91,5 cm \/ environ 72 x 36 pouces” show_title_and_caption=”off” _builder_version=”4.2.2″]<\/p>\n<\/h4>\n
Karine Fr\u00e9chette vit et travaille \u00e0 Montr\u00e9al.<\/h4>\n
Sa pratique picturale entend susciter une exp\u00e9rience autant spatiale, optique que physique. Des affinit\u00e9s se pr\u00e9sentent avec le Op art, l’abstraction du d\u00e9but du vingti\u00e8me si\u00e8cle et l’esth\u00e9tique psych\u00e9d\u00e9lique. Les gestes picturaux tissent attentivement des r\u00e9seaux de motifs dont le lent labeur aboutit paradoxalement \u00e0 des allusions \u00e0 l’\u00e9cran, \u00e0 la volatilit\u00e9 d’ondes impalpables, \u00e0 des mouvements oscillatoires.<\/h4>\n
La peinture de Karine Fr\u00e9chette se nourrit d’une fascination pour toutes formes d’ondes transmises, aussi bien \u00e0 l’\u00e9chelle cosmique qu’\u00e0 travers les t\u00e9l\u00e9-communications, en passant par l’image digitale et analogique. Ainsi, sa peinture aborde la lumi\u00e8re en tant que manifestation d’un flux d’information en constante circulation.\u00a0 En recourant entre autres \u00e0 une palette \u00e9lectrique,\u00a0 elle tente d’avantage de reproduire l’effet optique de la lumi\u00e8re que de repr\u00e9senter cette derni\u00e8re. Au sens large, elle s’int\u00e9resse aux mouvements et rythmes temporels, aussi bien naturels que virtuels, qui modulent l’espace construit et l\u2019exp\u00e9rience sensible. L’alt\u00e9ration de la perception elle-m\u00eame devient le sujet.<\/h4>\n
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Pour plus d’informations, consultez le www.blouin-division.com<\/a><\/h4>\n
Histoire des Expositions<\/a><\/h4>\n
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For more information, please consult www.blouin-division.com<\/a><\/a><\/h4>\n
<\/span>Karine Fr\u00e9chette lives and works in Montreal.<\/h4>\n
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Her pictorial practice aims to create an experience that is spatial and optical as well as physical. The work has affinities with Op art, the abstraction and psychedelic aesthetics of the early twentieth century. Her pictorial gestures weave networks of motifs whose labour intensive process paradoxically alludes to the screen, to the volatility of impalpable waves, and oscillatory movements.<\/h4>\n
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Karine Fr\u00e9chette’s painting feeds on a fascination with all forms of transmitted waves, both on a cosmic scale and through telecommunication, via digital and analogue images. Thus, her painting approaches the light as a manifestation of a flow of information in constant circulation. Using, among other things, an electric pallet, she tries to reproduce the optical effect of light rather than representing it. In a broad sense, she is interested in temporal movements and rhythms, both natural and virtual, that modulate the constructed space and the sensory experience. The alteration of perception itself becomes the subject.<\/h4>\n
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Francine Savard<\/h3>