FM has styled himself the inventor of various farfetched set-ups and worksites whose improbable character defy notions of what is appropriate. Honouring the sensuality of material and manual labour, his experiments question process as an end it itself.
He holds an undergraduate degree in philosophy, another in visual art and a graduate degree in Québec studies. An active trainer, he has worked as a university lecturer and has considerable experience as an arts technician in several Québec City studios. He has realized a number of public art works and his studio production has been shown in Canada, Mexico and Belgium. Raised in Saint-Éphrem-de-Beauce, he lives and works in the rural community of Saint-Sylvestre in Québec’s Lotbinière region.
Sculpture is a way to grasp the real. The inherent architecture of an object determines how it stands, with its armature, axes of tension, or centre of gravity deployed as required. To work in sculpture is to make a case for presence. In this way, more than any other, sculpture falls within the scope of the concrete. Monumentality and relationship with the body are direct ramifications.
In fact, I’d go as far as to say that there’s also room for the most poetic and inner questions at the heart of these materials that we lift, scratch, mould and turn, linking and opposing them in as many ways as we can. A structural combat always occurs when the material and the conceptual are thrown together, which serves to test and confirm the solidity of both. In a nutshell, studio work is a juggling act that leads to a better understanding of self within a highly tangible world filled with references.
Although my work is for the most part static and contained, it expresses a certain virtuality with regard to movement or transformation. Sculpture can stop there, but it can also extend into the public arena. The experience is thus enhanced by the comings and goings of people whose individual perceptions of visual phenomena, shifting vantage points and metaphorical associations succeed one other, like sub-groupings within a broader system.
Similarly, my public art works comprise a more installative aspect, calling into play the important question of site, moulded over time through human use. My work therefore draws its relevance from its relationship to a physical context and to a host of other factors that make it what it is. This explains why my public art works are as differentiated as their particular locations.