Natalie Font

PANORAMA
11.21–12.15.1996

With *Panorama* (…), we are presented with jigsaw puzzles offering various images of the country. Some depict diverse landscapes, showing scenes typical of Canada ranging from the Maritimes to the Rockies. (…) Together, they form a mosaic of colorful images, assembled like a quilt. On another wall, *Constellation* brings together portraits of the collaborators who contributed to the work by assembling several of the puzzles.

(…) This is not a panorama attempting to promote the country (…); inevitably, it is about something else. A subtle irony emerges here. Despite the promised “overview,” the image of the country presented is actually a limited one. Moreover, the medium itself dictates a reliance on clichés—much like those found on postcards.

(…) By choosing the jigsaw puzzle as the basis for an artistic project, N. Font selects a hobby that consists of reconstructing pre-existing images. This choice evokes the idea of ​​mimicking artistic activity through a pastime. Yet, in this process of reconstructing images, the primary aim is simply to pass the time—to fill it. It occupies what Marcuse calls “leisure time.” In short, it is a form of entertainment. However, within that same society, the artist occupies their time differently; their time does not divide so easily into “work time” and “leisure time.” They invest their free time. In other words, they work—while playing—by giving of their time. Thus, the puzzles hanging on the gallery wall are no longer merely games intended to fill time. It would be more accurate to say: “they *were* games.”

André-L. Paré

(*Panorama*, ETC, Montreal, No. 29, February 15–May 15, 1995)