Fantasmagorie de semences potagères
Du microscopique au pixeldélique
TOPO relaunches its program of exhibitions in the window display by starting a new thematic cycle under the theme of ~fluidity~.
Starting September 8, the Rimouski artist Fernande Forest will exhibit her project Fantasmagorie de semences potagères, an audio-visual exploration magnified from the very nature of three seeds: onion, cabbage and salsify.
Following a research residency in a microscopy laboratory, she explores the invisible part of vegetable seeds from old varieties. The result is a large set of photographs taken with three devices: a binocular microscope equipped with a reflex camera, a scanning electron microscope where the image in shades of gray is obtained by the interaction between the electrons and the matter, and a digitizer where the seeds were digitized, following a stage of germination in the artist studio..
Each of these tools tints the landscape revealed by the seeds with its specific properties. We discover the topography of the infinitely small: a unique morphology composed of organized and complex microstructures. From these photographs, the artist generates a process of transformation with imaging technologies in order to reveal the digital microstructures.
These digital "pixelated" entities and the real photographs compose the material of this video, realized with the support of the video artist Cynthia Naggar and the music of the composers Éric Normand and Clarisse Bériault.
FLUIDITY - 2021 - 2023
Under the theme of fluidity, TOPO envisions the series of exhibitions, in gallery and online, which will animate its season of activities beginning in the fall of 2021.
In an age of heightened variability, the notion of fluidity will initiate abundant and open ideas about the impermanence of harmonies. Fluidity is that which flows easily, without resistance, but also that which is difficult to grasp, to define. Fluidity designates the smooth running of a course, its "limpidity"; it becomes reassuring because it is predictable and controlled, "flowing from source". But everything that appears to be stable is mere appearance, for stability is subject to continuous flows of dynamic interactions from every corner. Fluid life bends out of shape to adapt to its environment, it constantly recomposes its networks, it is open to the outside...
Je t’ai trouvée allongée sur la terre, les vestiges de ta vie à tes côtés, brisés, en lambeau.
Tu étais là, minuscule, presque invisible, privée d’eau, gorgée de soleil.
Je t’ai recueillie et j’ai voulu apprendre de ton corps. Je t’ai observée, scrutée, changée.
Et puis, j’ai rêvé à cette fantasmagorie, où tel un fantôme venu du cosmos, tu flottais,
transformée, habillée tantôt de mille couleurs, tantôt de noir.
Fascinée, je découvrais ton monde secret.
Une organisation minutieuse, complexe, intelligente, venue de la nuit des temps.
Et puis, les données devenaient partielles,
tout s’atténuait, ne restaient que des couleurs, des signes, des symboles,
comme une trace fossile et tu disparaissais.
Au matin, je t’ai déposée sur la terre et t’en ai recouvert.
Bien plus tard, j’ai vu la vie apparaître à nouveau.
En fait, ta vie ne s’arrêtait pas à ton aspect matériel du moment.
Tu étais un devenir, un destin, un cycle.
Et ce cycle fécond se poursuit, fluide, éternel, indissociable du ciel et de la terre.
Tu es semence, spermaphyte, graine, capsule de vie.
– Fernande Forest
Born in Bonaventure, Gaspésie, Fernande Forest lives in Rimouski in the Bas-Saint-Laurent where she has been practicing visual arts for more than 30 years. Her research is centered on the living, principally on the plants that she comes across in her living environment. She has been using the digitizer as a macro camera since her beginnings in photography, which recently led her to scientific microscopy. Graphic designer by training, she has completed a graduate course in art practices studies. She has showcased various solo and group exhibitions in Canada, France and Poland. She also participated in symposiums and in situ creation events such as the Rencontre photographique de Kamouraska. Having received grants from the CALQ and the CAC, she also produces artworks within the framework of the policy for integration of the arts in architecture. Her practice in photography creates filiations between our relationship to plants, to science and to our humanity by revealing reality and magnifying it. In her representations, she seeks to bring out, in a tangible way, the vital force that is common to us all. The one that pushes all living organisms to blossom by evolving thanks to the mixtures, the risks and the renewals that encounters provoke.