Portholes / Portals 2016
Portholes/Portals (Diptych) 2016, silver transfer on resin, conté crayon;
and Lunette (Sculpture) 2016, metal, paint.
An installation about an unbalanced and fragile world.
Presented at the Art Gallery of Nova Scotia, Halifax, in Terroir, A Nova Scotia Survey. June 25th 2016- January 15th 2017
Mirror Tell Me (Ongoing)
In this project I extract the memory of old mirrors by removing their silver backings and transforming them through mixed media, exposing the spirits of the mirrors. Each mirror has a story, and the extraction pulls out the mystery that informs what follows. In these explorations, which take different forms based on each mirror's response to the process, I investigate how an object’s memory, personal stories, and preoccupations reflecting our times intersect in a reconstruction to create new imagery.
Things in Common
This project is about turbulence and metamorphosis, it evokes states of consciousness experienced in times of crisis. I investigate how actuality, memory, and the making process intersect in the creation of new images.
A childhood memory of an Atlantic storm, observed from the two portholes of our ship’s cabin, is a metaphor to translate visually the idea of a world in turmoil. The raging black sea is associated with the precariousness of an uncontrollable situation, and the fear of being swallowed by that liquid abyss. Current events such as mass migration, a sick planet, the polarization leading to extremism, the Me Too movement, are examples of what inform this project.
Sculptures, video, sound, and light, echo each other in order to translate the various concerns explored in the multimedia installation as presented at the Thorne Sagendorph Art Gallery, Keene Sate College, Keene, NH. USA.
Thanks to the Canada Council on the Arts for its support for the research and for the production of Things in Common.
Mutherer (Two or Three Things I Know About Her) 2015
Multimedia installation: sculpture, video projection, reflected light.
Mutherer suggests to be free of inherited patterns and imprints which inhibit creativity.
The subtitle is borrowed from Jean-Luc Godard’s 1967 film Two or Three Things I know About Her. It also refers to the subject, “Her,” as both mother figure and creativity itself.
and “That Night” (back wall)
Transfer Units / Unités de Transfert
Multimedia installation presented at Plein Sud, Contemporary Art Center in Longueuil, Qc. 2014
Sculpture, video projection and refracted light echo each other to create a theatrical environment evoking the passage of time and the illusive character of memory. A mirrored dressing table is the origin of an unfolding family of events. Domestic furniture has been dissected to recreate new entities. Various elements collude to form a causal sequence revealing underlying myths, dreams and realities.
Sculpture, video, sound
The tension of duality is a recurrent theme in my work. Being a twin plays a role in the origin of this desire for TWO. The installation's dynamic is based on the idea of a dividing line. Combined with the displacement of the familiar, where sea waves animate the surfaces of an over-stretched kitchen table, illusion and reality are orchestrated to challenge our perception. Being the core of the display, the dividing plane operates as an imaginary mirror, where the illusion of perfect synchronicity only lasts a moment, depending on the point of view.
Make a Wish 2009
Sculpture, video and sound installation.
A three-channel video projection, Make a Wish combines images of thunderstorms and water with an accompanying soundtrack of voiced concerns to envelop the gallery in an electrical storm of uncertainty. Watery surfaces spill with a myriad of visions that form a layered collage of contemporary troubles. Mixing real and virtual imagery, Dumas creates multiple points of view that redefine domestic, political, ecological, social, and economic ideas.
Three video sequences are synchronized to form a loop of 8 minutes and 15 seconds a piece:
A three channel video, sound and sculpture installation.
Make a Wish is composed of: three 46” diameter x 12” (height) galvanized steel elements. Their surfaces act as screens for projections coming from the ceiling. Mirrors are adjusted to reflect details of the images above each element.
A different event appears in each container: Waves shows coffee being stirred while radio extracts list the words most heard on the news since the events of 9.11; Economist Soup deals with social turmoil and the difficulty of assimilating all that is happening; and Maison uses a child’s nightmare of a house being flooded and invaded by sharks as a symbol to combine recent economic and ecologic events.
Sculpture, video and sound installation.
This work articulates psychological states and boundaries; the way that an interior self is constructed through memory, context and experience. I explore what occurs when the integrity of this interior self experiences a radical displacement in one’s own environment, language, and/or culture. In this installation I suggest we carry our personal boundaries/frontiers with us wherever we go. I explore how the self-defined limits of an out-of-scale stage can here become a tool to fulfill a child’s dream: a memory layer to overlap past and recent events. While the sculpture-stage compresses and oppresses, the resulting video performance conveys how one’s power to expand can reside in creativity.
Sculpture, video and sound installation
Video duration: 3 minutes, 9 seconds
Sculpture: Theatre Trunk
Materials: Wood, tile, plexiglas, metal and neon
Dimensions: 60″ X 23″ X 25″
THREE'S COMPANY 2005
Mixed media sculpture
Dimensions: 51" X 25" X 50"
Three's Company combines mirrors, holographic projections, and sculptural elements to evoke a constant flux of self-image by means of complex, layered points of view.