Marie-Claude Lacroix’s paintings are not the still lifes you know

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Marie-Claude Lacroix completed a BFA Majoring in Painting and Drawing from Condordia University, Montreal in 2016. And yet, her work carries a sense of maturity and resolution beyond what I would expect of such a fresh graduate. Committing to the medium of painting in a world of digital flux is a risk. It seems that today’s painters have more pressure than ever before to either pander to the art market, or have something truly unique to add to the conversation. It is artists like Marie-Claude Lacroix that keep on pushing a medium that has been declared dead many times overs.

Lacroix paints still lifes, but not the still lifes that come to mind when one thinks of the long tradition of painting. There are no vases or fruit bowls in sight. Instead, her curious compositions include pieces of various substrates, like paper, plastic, and glass, bending their way out of the frame. She also includes art materials and tools in her paintings, creating a strange self-reflexive loop, where the subject matter of the finished painting reveals parts of the technical process that brought it into being. Unexpected objects include: a cutting board, stray pieces of masking tape, a paper scraper, iron nails. Lacroix’s works shimmer with seductive surfaces layered over, and through, one another. The paint application is smooth, rendered in gentle pastels and greys. But, there is a always a but. One of the worker’s tools, or an abrasive texture — like that of a rough hemp rope — are bound to sneak their way in to picture to disrupt the eye’s otherwise smooth glide over the composition.

Marie-Claude Lacroix’s work may be made throughout he the traditional medium of painting, but the way in which it approaches the construction of an image is undoubtedly of the digital age. Find more on her website, and Instagram.