BIO

After her studies in visual arts at Concordia University, Brigitte Radecki initially joined the artistic scene in Montreal by producing monumental sculpture and environmental installations. She has had several solo and group exhibitions in Quebec and Canada as well as internationally and was represented by Gallery Christiane Chassay for over 20 years. Since the 90’s, she has devoted her time to painting and has indeed been linked to the new Québec abstract movement. Brigitte Radecki brings a strongly poetic dimension to her work, working both with literary sources that confer a feminist, political element to her work while at the same time drawing on the distinct characteristics of modern art. She revisits certain formal aspects of 20th century painting but also allows narrative and psychological elements into the work.

She lives and works in Montreal and Cape Breton, Nova Scotia.

Artists Statement

I’ve always been interested in ambiguity. That is, ambiguity of visual form and ambiguity of meaning. Not in the sense of vagueness or indecision but where forms and meanings are in tension and no conclusion is expected – where meanings collide but are allowed to exist side by side.

The method for creating my paintings has always been to start with the chance effects of splattering paint unto the floor. I then use the simple technology of duplicating photos of the paint splatters, tracing and then painting between the forms in a very controlled and obsessive manner. The resulting imagery seems to be on the surface but from a closer view, the surface breaks apart and there is a sudden reversal of figure and ground. In effect, they become reverse collages.

The overall reference for my paintings might be writing or calligraphy but they can also refer to Rorschach tests or can simply be decorative motifs or ornamental patterns. My present and ongoing series “Pictures of Nothing or Flying Carpets” , may refer to the calm simplicity of Minimalism in abstraction but can also carry the imagination across to other cultures and into psychological readings. The size and shapes of the paintings are like carpets; the empty centres could be both openings and conversely, mirrors.

I hope to present abstraction in ways that brings people closer to understanding, appreciating and actually identifying with it in profound and meaningful ways. In this way the viewer can become an active participant in determining the significance of the work, both in how it is perceived and in its interpretation.