Louise Belcourt continued her investigation with light, color and spatial volumes. Belcourt first drew various mock-up compositions as a guiding template and from these created stencils that mimic the spongy-boulder forms which populate her recent paintings. The artist then used mylar stencils as constructive collage elements for a suite of work that expose the underpinnings of her work. Employing familiar elemental shapes, but in a new medium for the artist, Belcourt re-evaluated how color density and hue infect form and how, in turn, various juxtaposed shapes can dictate the way each inhabit the compositional space. In her monotypes, the application of various hues of green allow the artist to study the same forms again and again—Morandi-like—while situating them in mixed groupings within identical backdrops. All this is a strategy for Belcourt to pare down structural form and reduce content to the minimum. In doing so, she allows essential elements of her work to take center stage in both her constructions and hand-worked prints.
The Montreal Museum of Fine Arts, Montreal, Canada; The Council for the Estate of Francis Picabia, Paris; The Progressive Art Collection: Le Ministre des Communautés Culturelles et de L’Immigration, Government of Quebec; Deutsche Bank; Nokia Corporation; Wellington Management, Boston