Réjean Roy
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BIG BOULDER, 2013
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CANYON FALL, 2013
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PALISADES, 2013 |
SNOW AND FIELD, 2013
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SPRING ISLAND, 2013 |
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RIVIÉRE NEPISIGUIT A L'AUTOMNE |
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RIVIÉRE AUX ORMES, 2013 please click on the images to see larger versions |
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BONHOMME EN SOUS-BOIS, 2013 |
RUISSEAU DU LAC BELLEDUNE, 2013 |
COTE SUR LA RIVIERE AUX ORMES, 2013
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ROCHER DANS UN SOUS BOIS, 2013 |
FROZEN RIVER ISLAND (JANUARY), 2013 |
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CHUTE PABINEAU L`HIVER (2013)
Réjean painting his recent oil on board paintings "en plein air"
PETIT-ROCHER ET LA GLACE DE LA BAIE
CHUTES PABINEAU EN HIVER, 2013 |
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GREEN MAPLE, 2012
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ÉTANG ET FORET D'AUTOMNE, 2012 |
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PETITE CHUTE DE PRINTEMPS, 2012
NICOLE ET JONATHAN AU LAC MAGAGUADAVIC, 2012
FEUILLAGES ET CHUTES, 2012 |
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ROCKY LAKE ISLAND, 2012 |
RAVIN DE L'UPSALQUITCH, 2012
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NIGADOO SOUS LA NEIGE, 2012 You can learn more about Réjean's painting adventures by following his blog, please click below:
LES MONTS GROULX II, 2012
ROCKY TURN FALL, 2012
FIRST SNOW UPLAND, 2011
FALLS BROOK FALLS, 2011
FOGGY MAPLE. 2012
KEJIMKUJIK LANDSCAPE, 2011
MORNING ISLAND, 2011
VALLÉE DU LAC MAGIQUE, 2011
SNOW RIVER, 2012
WINTER RIVER BEND, 2012
PRINTEMPS, 2012 ARTIST STATEMENT After more than ten years of actively painting in oils, I’ve just started to really think about what I am trying to achieve with my work. I have come to the realisation that I am working under a tension between realism and expressionism, the former being closer to actual representation and the latter, if pushed to its logical end, would be complete abstraction. These two opposites collide when I’m confronted by an empty canvas. When I paint, this balancing act continues as I balance the intellectual process with the interior motives of feelings and emotions. A good balance between graphic representation and a faithful expression of sensation given by a particular landscape is what makes for me a successful painting. The representation plays the part of an anchor for the viewer so he can recognise and orient himself, and then hopefully, the composition and the particular use of color will give the art work its intended spiritual dimension. Of course, I am very much compelled, when I see a landscape, to describe it in detail and color, but there is a part of me that simply wants to be aware of the experience of being there at that particular moment, and “take it all in” as one would say. Sketches and photographs help me remember some of the details or compositional elements, but when I’m back at my studio in front of a blank canvas, the memory of the sensation of being amidst a beautiful landscape is really the only thing that I’m left to work with. This particular memory then works into building an idea of the landscape, based on both what I saw, and the sensation that it gave me. It is in this idea that ultimately interests me. It could be argued that my paintings would better represent the visual experience if I would paint “in situ”, meaning to paint outdoors. It could be so, and that’s why my small unintelligible quick sketches are fantastic telltales of what I experience, much more so than any photograph. But painting a day or so after the experience of actually being in nature gives some time for the idea of the landscape to mature before being synthesized onto a canvas. Of course, I also like to work on large canvases and this is just not practical for the outdoors. For me, the landscape is a vast and engulfing place, so the larger canvas seems a natural way for me to further convey this. The use of bright, joyful colors and uplifting composition is also important, because nature is such a vibrant and inviting place for me. This being said, it is so important for me to spend time in the wilderness to gain inspiration. I like to take multiple-day trips from time to time to get attuned to the natural setting. The impression I get from living outdoors is priceless and an important part of who I am as a person, and as an artist. Painting for me is part of this cycle of immersing myself in nature and then letting the experiences flow onto a canvas. At this point, my main concern is to let my work be a testimony to how important the wilderness is for our well-being. Réjean Roy, 2012
SNOW STREAM, 2012
CHUTE UPSALQUITCH, 2011 |
Born in 1971, Réjean Roy is an Acadian from northern New Brunswick. While studying biology in Québec, Réjean also took courses in fine arts, encouraged by his teachers and his love for drawing. His passion for the flora and fauna of his studies became subjects for illustrations which have been used for scientific texts and environmental and natural resources publications. His artistic studies grew to include work in watercolour, charcoal, etching and sculpture in ceramic and concrete. He credits sculptor Roger Langevin at the Université du Québec à Rimouski and printmaker Jacques Arseneault of the Université de Moncton as his most influential teachers. Since 1996, Réjean has exhibited his work in Rimouski, Gaspé, Bouctouche, Moncton, Fredericton and Toronto. He continues to enjoy illustrating, having partnered with Bouton d'or Acadie Press on seven children's books since 2005. Réjean's paintings are part of corporate and private collections across Canada, the USA and overseas. |
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RÉJEAN ROY and daughter Myra at the artist's reception on June 8.
Nikki Thériault has a few questions for Réjean before his reception, 2010 |
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