Micheline Beauchemin (1929-20091) is a textile artist and master of Quebec high ranking.
Since the mid-1950s, when she returned to embroidery learned during her childhood, the artist has exploited several materials (wool, nylon filaments, metal threads, plexiglass, metal, fiber optics) to continue her quest and rethink the art of tapestry by giving it a sculptural dimension.
Love of nature allied to the love of peoples who offer their millennial traditions - Greek, Japanese, Inca, Inuit, etc. - to be transfigured, mixed together in a new work, which breaks the boundaries between crafts and art, is slowly and stubbornly constructed - each work takes almost a year of hard work to accomplished.
Luminous work that absorbs elements and traditions to magnify them. Fascinated by the natural elements, the river, the ice, the snow, the flowers, gives the visitor a glimpse of the iridescent water and the magic of the ice, the secrets of an ever-changing nature, movement made by the set of lights and colors, the variety of textures sought around the world - still young, Micheline Beauchemin will not hesitate to travel to Japan, as early as 1962, to ask to work on the largest loom in the world. world (50 ft long, 3 floors high) and weave a curtain for the Place des Arts, Montreal. In Japan, she also created the stage curtain at the National Arts Center in Ottawa (1966-9), a contribution that greatly contributes to the artist's constant effort to integrate art and architecture.
To the exigency of the warp and the weft, to the constraint of the technique, is grafted the energy and the passion of an artist who does not tire of transmitting his enchantment, transfigures the real to better represent it, mixes the wings of gulls and wild geese attracted by the river, to that of angels.
And in his latest work, thanks to the modern techniques, Micheline Beauchemin manages to concretely weave the light, with the sparkling sculpture, joyous, imagined for the Tohu, the City of Circus Arts, cradle Cirque du Soleil, Montreal.
© 2019. All images are copyrighted © by Micheline Beauchemin or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only.
Since the mid-1950s, when she returned to embroidery learned during her childhood, the artist has exploited several materials (wool, nylon filaments, metal threads, plexiglass, metal, fiber optics) to continue her quest and rethink the art of tapestry by giving it a sculptural dimension.
Love of nature allied to the love of peoples who offer their millennial traditions - Greek, Japanese, Inca, Inuit, etc. - to be transfigured, mixed together in a new work, which breaks the boundaries between crafts and art, is slowly and stubbornly constructed - each work takes almost a year of hard work to accomplished.
Luminous work that absorbs elements and traditions to magnify them. Fascinated by the natural elements, the river, the ice, the snow, the flowers, gives the visitor a glimpse of the iridescent water and the magic of the ice, the secrets of an ever-changing nature, movement made by the set of lights and colors, the variety of textures sought around the world - still young, Micheline Beauchemin will not hesitate to travel to Japan, as early as 1962, to ask to work on the largest loom in the world. world (50 ft long, 3 floors high) and weave a curtain for the Place des Arts, Montreal. In Japan, she also created the stage curtain at the National Arts Center in Ottawa (1966-9), a contribution that greatly contributes to the artist's constant effort to integrate art and architecture.
To the exigency of the warp and the weft, to the constraint of the technique, is grafted the energy and the passion of an artist who does not tire of transmitting his enchantment, transfigures the real to better represent it, mixes the wings of gulls and wild geese attracted by the river, to that of angels.
And in his latest work, thanks to the modern techniques, Micheline Beauchemin manages to concretely weave the light, with the sparkling sculpture, joyous, imagined for the Tohu, the City of Circus Arts, cradle Cirque du Soleil, Montreal.
© 2019. All images are copyrighted © by Micheline Beauchemin or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only.
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| Micheline Beauchemin at work |
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| 1955, Sans titre |
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| 1956, La mariée d'Angouleme |
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| 1956, Les Ailes |
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| 1956, Petit fantôme à voiles |
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| 1957, No. 4 |
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| 1963, La Chute d'Icare |
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| 1963, Vertigold |
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| 1966, Guerrier |
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| 1966-68, AB-1, looking up the stairs |
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| 1966-68, AB-1 |
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| 1966-69, Rideau de l'Opera |
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| 1966-69, Rideau de l'Opera |
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| 1966-69, Rideau de l'Opera |
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| 1967, Rideau de lumière, couleur du temps (refait en 2000) |
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| 1967, Rideau de lumière, couleur du temps (refait en 2000) |
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| 1970, La rivière |
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| 1970, Sans titre |
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| 1972, 3ieme Gigue |
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| 1972-78, Homage au Fleuve St Laurent |
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| 1980. otem aux Millefleurs Bleues |
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| 1978, vol d'oiseaux |
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| 1983, Mirage blanc |
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| 1994, Je veux la lune |
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| 2008, Soleil (detail) |
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| 2008, Soleil |
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| Railes couleur de temps gris |
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| Sombre carapace nordique |
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