Gabrielle Lajoie-Bergeron

Christine Major
  • Gabrielle Lajoie-Bergeron, Sac en plastique et robe fleurie, from the series Love me, Love my doll, 2015.
  • Gabrielle Lajoie-Bergeron, La leçon de guitare coin Ste-Hélène / Caron, 2016.
  • Gabrielle Lajoie-Bergeron, Barbie-doll-display.jpg, 2015.
  • Gabrielle Lajoie-Bergeron, Crack House - Malartic, 2016.
  • Gabrielle Lajoie-Bergeron, La roulotte à Judith, 2016.
  • Gabrielle Lajoie-Bergeron, FUCK!, 2015.
  • Gabrielle Lajoie-Bergeron, Sur la route de Joutel – Histoires de passes-passes, 2016.
  • Gabrielle Lajoie-Bergeron, Blow Up, 2015.
  • Gabrielle Lajoie-Bergeron, Le break, 2015.

The Young Girls Won’t Hear About It

From the world’s constant flow of recycled images, Gabrielle Lajoie-Bergeron catches details with her brush. She carefully notes the relief of a derelict house, some twisted floral motifs, animal coats, local or exotic foliage. Wild colours, bursting brushstrokes, and emotive distortions sound out a familiar tune that touches the viewer directly. Her painting cultivates our sensory knowledge while generating our empathy for the planet.

In these paintings, Lajoie-Bergeron pays careful attention to the women’s protest movement. The uprising. Now, borne by the winds of awareness, the gesture travels along broken lines or the delineations of a messy head of hair. She’s meticulous in drawing the contours of her subject: a young girl in flowers, Femen with bared breasts, an inflatable doll, a hooker in her garb, a cowgirl. She’s more rebel than wise when proffering these bodies to the wolves, and raw in her descriptions when depicting intimate scenes. Her painting may well be deemed theatrical — that nemesis of the modernist formalism of the 1960s — as reality and fiction silently merge to test the limits of our tolerance. She responds to the depressions and traumas of our age with images that are still more crazed.

L’artiste aménage dans l’espace de ses expositions des parcours improbables où elle fait étalage de sa collection dernier cri. Sa désinvolture dans les arrangements nous permettrait-elle d’imaginer d’autres manières de circuler parmi les objets ? Dans ses toiles, des flaques luisantes à moitié mélangées séduisent le regard. Serions-nous capables d’échapper au modèle du consommateur conformiste fabriqué par la société marchande ?

Painting has lost some of its original lustre, but it reclaims our attention in this new exploration of Preliminary Materials for a Theory of the Young-Girl. Postmodern and artificial, it nurtures a Dadaist disillusionment to create a critical space. Between fascination and disenchantment, processes of identity and superficial games, is art still capable of such a feat?

Translated from the French by Ron Ross

Captions
Image 1: Gabrielle Lajoie-Bergeron, Sac en plastique et robe fleurie, from the series Love me, Love my doll, 2015. Photo: courtesy of the artist
Image 2: Gabrielle Lajoie-Bergeron, La leçon de guitare coin Ste-Hélène / Caron, 2016. Photo: Jean-Sébastien Veilleux, courtesy of the artist
Image 3: Gabrielle Lajoie-Bergeron, Barbie-doll-display.jpg, 2015. Photo: courtesy of the artist
Image 4: Gabrielle Lajoie-Bergeron, Crack House - Malartic, 2016. Photo: courtesy of the artist
Image 5: Gabrielle Lajoie-Bergeron, La roulotte à Judith, 2016. Photo: Jean-Sébastien Veilleux, courtesy of the artist
Image 6: Gabrielle Lajoie-Bergeron, FUCK!, 2015. Photo: courtesy of the artist
Image 7: Gabrielle Lajoie-Bergeron, Sur la route de Joutel – Histoires de passes-passes, 2016. Photo: courtesy of the artist
Image 8: Gabrielle Lajoie-Bergeron, Blow Up, 2015. Photo: courtesy of the artist
Image 9: Gabrielle Lajoie-Bergeron, Le break, 2015. Photo: courtesy of the artist

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