{"id":34536,"date":"2016-10-12T11:15:51","date_gmt":"2016-10-12T16:15:51","guid":{"rendered":"https:\/\/artmur.com\/en\/?page_id=34536"},"modified":"2016-12-01T12:57:10","modified_gmt":"2016-12-01T17:57:10","slug":"artists-selection","status":"publish","type":"page","link":"https:\/\/artmur.com\/en\/artists\/claude-tousignant\/artists-selection\/","title":{"rendered":"Artist\u2019s Selection"},"content":{"rendered":"
November 5 \u2013 December 17, 2016
\nOpening reception: Saturday, November 5 from 3-5 p.m.
\nClaude Tousignant<\/strong>: Artist\u2019s Selection<\/em>
\nArt M\u00fbr, Montreal (QC)<\/p>\n

Tousignant Says:
\nA casual conversation between artist Claude Tousignant and writer Isa Tousignant.<\/p>\n

The show is titled \u201cArtist\u2019s Selection.\u201d Could you tell me about your selection process? <\/em><\/p>\n

I thought of works that had barely ever been shown\u2014maybe once or twice only. Some works stand out: Tableau noir pour enfant snob, for example, is a work I find extremely special. Grand vert-noir is one of the rare pieces that I\u2019ve partially reworked in recent years (I nearly never do that). It was never shown because of its size. The same goes for Monochrome bleu, which was only exhibited once at the Montreal Museum of Fine Arts in 1982. Most of the other works are doubles, which also enjoy lots of space. <\/p>\n

There\u2019s a weird rumour circulating that this might be your last show.<\/em> <\/p>\n

Oh yeah! I just mentioned that it might well be the last show I put on in my lifetime. I am 83 after all. But it was just a joke\u2014a sad joke. I have an exhibition at Christopher Cutts in Toronto in April 2017. Other than that, I don\u2019t do much anymore. <\/p>\n

That isn\u2019t true! I think you have such a crazy work ethic that you expect to be able to do everything you always did, despite your age.<\/em> <\/p>\n

No, it\u2019s because in the old days, like when I was painting the Acc\u00e9l\u00e9rateurs chromatiques, I worked nearly 10 hours a day. <\/p>\n

My point exactly. Lots of artists paint very complex things, but most still don\u2019t put 10 hours a day on it. It just takes them longer to finish. You\u2019ve always been at the studio day in, day out, year-round, from 10 to 6 every day. You\u2019re productive when you\u2019re painting, but you\u2019re also always brainstorming on the next project. <\/em><\/p>\n

Yes, I have produced a lot. But now I only work afternoons. My best days are behind me. <\/p>\n

My goodness, what a drama queen. When you think back on your career, what periods stand out as your favourites? <\/em><\/p>\n

That has a lot to do with the period of production. The Chambly period was very pleasant, because I was in a rural setting and I was very enthusiastic about the work I was doing. It was so much fun\u2014I\u2019d just finished a series of sculptures, and these paintings were so free and immediate. <\/p>\n

Is the way that the work is received also a factor in the pleasure it provides?<\/em><\/p>\n

Yes, absolutely. Some artists may deny it, but it\u2019s always part of the equation. It\u2019s like a woman who wears makeup; if people find her attractive, it will help shape her style. But if she wears lots of black eyeliner and people react negatively toward it, she\u2019ll probably stop doing it. It\u2019s a weird comparison, but you know what I mean. <\/p>\n

Yes, you\u2019re saying it\u2019s an aesthetic conversation. You make your statement and then it\u2019s out there for the world to react to. You\u2019ve been lucky, in a way; because you decided very young never to work with exclusive dealers, you\u2019ve avoided being swayed by financial forces. I think many artists struggle with the trap of having to keep producing what sells well.<\/em><\/p>\n

That\u2019s for sure. I\u2019ve always done exactly what I wanted to do. But I\u2019ve been very lucky when it comes to my place in the history of Montreal painting. I know I have talent, but luck played its part. <\/p>\n

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