Sequencer-Spectrum-Reverb 2016, Luis De Jesus Gallery, Los Angeles
...A techno music festival, surrounded by pulsing music and flashing strobe lights. Piper is trying to figure out who the guy running by in front of her is and suddenly realizes it's Dax, from Berlin. He's the producer of the show and he's with that girl from Iceland, Svava. Why is he hanging out with her?
Transposing the idea of surround sound to the visual realm, Beaucage's new paintings introduce us to a music production crew: American, British, and German electronic musicians and producers, along with ravers, party goers, and vap smokers. The exhibition consists of portraits on paper -- head and shoulders shots and figures in landscapes. Are these presumed impostors, pseudo portraits or counterfeit eccentrics?
Beaucage's loosely painted characters straddle representation and abstraction and oscillate between sincerity and parody. Specks, drips and drops of paint animate hoodies, long coats, eyes, hair and moustaches. Large expressive brushstrokes aroused by carbon black and phtalo turquoise energize the atmosphere. Although the work appears lighthearted it has a foothold in critical approach and philosophy. The characters function as shorthand for a range of philosophical concepts that undergird her strategies: "being with" (Heidegger's mitsein), "presence" and "trace" (Derrida), and "empathy" (Titchener's einfühlung). They are quite congenial and approachable -- if they where real; they're "ultrasocial" (Haidt) and totally free.
Beaucage notes that these theories are alive or active when a person is trying to figure out what they are looking at, as when the viewer fabricates stories about the characters and finds the characters to be simpatico, they (you, the viewer) empathize and make up meaning from abstraction. "That is where these theories brake down into a process -- 'trace', making the image; 'presence', a sense of a person being the character... then the viewer discovers a 'being with', the viewer is with the character and some characters are in groups; therefore, the viewer projects himself into that group in 'empathy'. The whole exhibition becomes a social space, a scene that you look at and that you can put yourself in." In this respect, Sequencer-Spectrum-Reverb explores the concept of relationship as the waveform through different degrees of definition of abstraction and figuration.
Skipper: Volta 2016, New York
Beaucage’s Skipper paintings invites you to follow a young swashbucklers couple in a topside adventure. Petula is a sailor, she sold all her belongings and now navigates the big salty. Her sea legs took her to the South Pacific. A femme of high spirits, she enjoys great conversations with aged tequila in her sailboat boudoir. She loves to be top free on the island, surrounding herself with quiet plants. She spends most of her time talking with her lover and shipmate; a philosopher from Denmark called Gudbjorn, she calls him Gud for short. Gud loves cutting wood. Making wood ornaments and thinking about how the worlds populations is exponentially growing. What will happen to the food production in Micronesia he wonders; Gud wonders a lot and then he writes books with solutions about it; from his own experience on the ground. Every afternoon Petula swims. Gud takes pictures of Petula day and night. They plumb the depths together.
Chill Bivouac Rhymes
Beaucage’s Chill Bivouac Rhymes paintings and mix media exhibition invites you to follow a small group of teens at a rave concert. A young Bolshoi ballerina; Ekaterina becomes a rave bunny and escapes her Russian lover to venture in cutting shapes with a young surfer from Bora Bora.
In parallel to S/Z’s Roland Barthes search for openness of interpretation in literature; Beaucage organized her current exhibition to allow for a looseleaf narrative. Barthes had concluded that "an ideal text is one that is reversible, or open to the greatest variety of independent interpretations and not restrictive in meaning; avoiding strict timelines and exact definitions of events." Beaucage brings about this reversibility in the exhibition by choosing a series of paintings that mixes the plot in a non linear fashion, including molly induced moments and cinematic tropes in 3D.
All the images visually rhyme with one another around a central bivouac; a campsite in the woods where the Rave is happening. The rhymes are geometric elements that are both color and sound.
The viewer will discover the paintings by looking through sculptures and painting installation. Multicolor trees, an octagon geometric shape and freestanding painted campers are installed on the gallery floor to produce a deep focus space. The inclusion of the three levels of foreground, middle ground and extreme background objects (a large painting 9 x12 feet) will create for the viewer a similar effect to a depth of field composition in cinematography; allowing the viewer to focus both close and distant planes.
Beaucage created enamel on Iron pieces that where fired at 1450° F; fusing glass to metal. Influenced by Limoges enamelings from the mid 1600s, her ravers are incapsulated in a deep glossy tranced out spaces.
Bidibidiba is a figure of speech for love, pleasure, sentimentality, and fun...Bidibidiba is where characters are built with painting activation in mind. Multicolored brush strokes are used to build abstractions that are part of the figure. The imagery is built with paint that reverts the figure/ground conversation to a figure/figure construction by building what used to be "ground" onto the same plane as the figure so they can interact.
The exhibition consists of “idealistically” bound portraits of diverse characters including girls and philosophers, art students (both fictional and real), hipsters with mustaches, Egyptian girls, princesses, knights, dragons, musketeers, wigged women, bearded men, and dandies. They are sometimes in conversations or simply doing their jobs of being portraits and holding the paint together.
Bidibidiba, is the title song of the 1970 movie “L’ Homme Orchestre” (“The Orchestra Men”) with French comedian Louis De Funes. Specifically, the Bidibidiba dance within this comedy had the effect of molding a desire in the Beaucage for a modern and colorful life. Bidibidiba is light, entertaining, new, and full of sentimentality. Also influencing the artist is Roland Barthes who wrote Le Plaisir Du Texte (The Pleasure of the Text), a book he was hoping would influence other thinkers, philosophers and researchers to consider pleasure within the critical discourse. In a 1973 interview, Roland Barthes talks about his book and explains very simply that the notion of pleasure is on “the right”, attempting to convince his friends on “the left” that pleasure should not be dismissed and actually included into criticality. He later took on the subject of love in the same manner in 1977 with his book Fragments d’un Discours Amoureux (A Lovers Discourse).
The exhibition continues the artist’s exploration of painted images that investigate relationships between signs of abstraction and figuration and how we derive meaning by simple juxtaposition of these signs. Beaucage invents characters and places them side by side with an abstracted form into a scenario that mimics what happens in a social space. The emotional thread woven into the paintings, the social spaces, is meant to stimulate discourse with the audience.
In the artist’s native Quebec, a “hurluberlu” is one who is a little crazy, sweet and original in his way of thinking, how he dresses and behaves. Physical applications of volatile multicolor brush strokes to the canvas, are the basis for the hurlubelu–like characters, while the abstractions are an investigation of improvised construction based on the shape of a lozenge (diamond shape) and Catalan solids (geometric). Relationships between the figures and the abstractions are associated by modal logic theorems in witch a lozenge represents a possibility and the figure is an agent (player). We are therefore in the domain of .hurluberlu.