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Dan Brault's painting simultaneously draws on codes, history and the medium's genres. Far from a mere game of borrowing and citation the work's main concern is more, as the artist insists, in uniting in a single burst the originating possibilities of a meeting of signs, motifs and the specific stylistic variations of painting's history. Brault thus presents amalgamated pictures, numerous, in triptychs or fixed to the walls in a desire for an aesthetic and semantic equation; the paintings answer and war with each other. It is in the continual reconfiguration, within the space in which it is exhibited, that Dan Brault's work takes on a sense: a “small bang,” a collision of appropriation, a sort of historical round-up or harvest, installed and offered for the reading as a whole. Images, if not techniques, jostle and shove each other in an accumulation of canvases in the space, but also in the imagistic elements that coexists within them. Some of these paintings are composed of numerous details, framed, circumscribed in form, they are also extracted from the recent (or less so) history of painting, as if one were making a synthesis of the lot, albeit eclectic, on a single surface. One might speak of cohabitation - a successful one - of samples, since Brault is sampling, like a DJ, as it pleases him to say. Cutting across the conventions of comics, portraiture, still life and geometric abstraction, the pictorial codes juxtaposed by the artist become a visual phrasing. They form a kind of syntactical composition in which the units, joined, abutted, take part in a medium of thought that is inextricably linked to an aesthetic process.
Holding a Bachelor of Fine Arts from Concordia University and a Master of Fine Arts from Laval University, Dan Brault has presented his work in numerous artist-run centres and galleries in Québec and Canada. He in represented by the Peak Gallery in Toronto.
Translated by PduB
The artist wishes to thank
the Conseil des arts et des lettres du Québec