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Creator Information


Jerome Bouchard

Country(activity based):
Visual Art


Born in 1977. Graduated from Master's degree in Visual and Media Arts at the Université du Québec à Montréal (UQAM, Montréal, Canada) in 2010.

Recent 5 main activities (personal exhibitions, group exhibitions, concerts) are Près des lignes/2016/ Galerie Roger Bellemare et Christian Lambert/Montréal/Canada, Art Toronto/2016/Toronto/Canada, Zoné Gris/2015/ Galerie Roger Bellemare et Christian Lambert/Montréal/Canada, Papier16/2016/Montreal/Canada, The Painting Project: A Snapshot of Painting in Canada/2013/Montréal/Canada.

The evolution of his practice has been observable over the span of numerous exhibitions, notably The Painting Project: A Snapshot of Painting in Canada (2013) presented at the Galerie de l'UQAM, and at the Roger Bellemare and Christian Lambert Gallery in 2016 (Montréal). He has also received several research grants. Bouchard's work is included in public and private art collections in Canada and United States.

About works / performance


That which remains: rebut de pochoirs, 2011, Inkjet printing on Moab Entrada paper with pigmented inks, 91,5 cm x 122 cm


Areas 15352, 2016, acrylic on canvas, 69,2 cm X 77 cm


Detail of Areas 15352, 2016, acrylic on canvas


zoné gris, 2015, acrylic on canvas, 274 cm X 366 cm


zoné gris, 2015, acrylic, aluminium, backlit and polycarbonate


répartitions, 2013, acrylic on canvas, 7 tableaux de 139,7 x 147,3


répartitions, 2013, acrylic on canvas


motte, 2016, acrylic on wood, 480 cm x 197 cm


I work in visual art using cartographic and environmental data as my departure point. My art practice revisits current issues in painting, notably those related to the question of abstraction and the representation of data. My creative process consists of two major stages that influence each other and intertwine. The first is a research stage involving the collection and selection of images using methods associated with the representation of cartographic data. Then, i make stencils from existing drawings and transfer these temporarily onto a surface to create miniscule cutout shapes. The terracing effect resulting from this stencilling method can be likened to topographical maps. However, it is more the errors caused by the layering than the objective representation of an area that interest me.