6 minute read
Sandra Chevrier
Sandra Chevrier
A New Vision of Heroism
by Kate Zaliznock
SANDRA CHEVRIER’S PAINTINGS CAN CONJURE A
SWELL OF PRIDE TO UNDERSTANDING AUDIENCES, AS IF
THEY ARE COMMUNICATING A UNIVERSAL, UNSPOKEN
TRUTH. CHEVRIER MANAGES TO ILLUSTRATE BOTH
THE RESTRICTION AND DEFIANT NATURE OF THE
FEMININE SPIRIT WITH HER CAGES SERIES, MIXING
WITH ICONIC IMAGERY AND EXQUISITE DETAIL. THE
ARTIST SAT DOWN WITH OPEN COLOR TO DISCUSS
THE VIEWPOINTS BEHIND HER WORK, THE LIFE
EXPERIENCE THAT HAS LED HER TO THIS POINT, HER
FAVORITE FELLOW ARTISTS, AND MORE.
What is it that draws you to the juxtaposition of the feminine and classic superhero figures?
Art has always been a way for me to express myself, and also it is for me a language on its own. The series “Cages” is about women trying to find freedom from society’s twisted preconceptions of what a woman should or shouldn’t be. These women encased in these cages of brash imposing paint or comic books that masks their very person symbolize the struggle that women go through with having these false expectations of beauty and perfection as well as the limitations society places on women, corrupting what truly is beautiful by placing women in these prisons of identity.
By doing so, society is asking them to become superheroes. There is also a certain melancholy in these different faces as if these women experienced a situation that they did not wish. As if they were “slaves.” An offset of American comics, synonymous to entertainment and fun. This is exactly the goal of the series, a daily struggle for us all against that which is imposed by society and the very expectations we impose on ourselves. I keep myself busy in many ways; single mom, business woman, artist, the household, romance, errands. It puts a lot on one’s shoulders. We overwork ourselves. We are all slaves to something, of something.
In comic books, despite all the playfulness of the thing itself and all the “POW BING BAM,” superheroes are also fragile. Superman, when he loses his battle against Doomsday, the image of his red cape tattered planted in the ground as a fallen flag has an intense beauty and incredible power. This is just one example among many others. We are human, men and women, and we are entitled to the flaw, the error. We should embrace them, learn from them instead of seeing them as weakness, stop living through these false expectations and limitations that society or that we place on upon our shoulders.
Do you feel past reactions to your work shape its future direction?
I’m sure some comments have impacted my works. I love constructive criticism and I love having discussions with others about it and to learn about their own perception of it. Often these conversations bring some new ideas and open new perspectives. When I started working on this series I realized that a lot of people would look at my work in a totally different way than I did, they were seeing it as an empowering message, and it as now become a dichotomy; a dance between Power and Fragility, Freedom and Captivity, the Poison and the Cure.
What was the starting point for your latest series?
The ‘’Cages’’ series started when I was doing crafts with my (then) two-year-old son. I found an old sketch of a woman’s portrait and passed over it with heavy textures of dollar store toll paints. I found the result very striking and thus the very humble beginning to a lengthy series. The transition to comic book collage happened upon embarking on a DIY home project. I had an old, small and cheap IKEA dresser that I had planned to cover in comic book collage, but not long after planning this small home project, the dresser broke. So I was left with a broken piece of furniture and dozens of copies of comic books that I had picked up at a nearby flea market, so I put them to use, and thus the comic book cages series.
Who are some of your favorite emerging artists?
Not sure how to define emerging but here are the artists of my generation that I love; Zoltan Veevaete, Erik Jones, Icy and Sot, Nuno Viegas, Mr. Super A …. and many many more.
How would you describe the cultural commentary your artwork explores?
I think I have answered in the first question but I have to say that my work speaks to a very large audience because the subject is universal. We all feel these pressures in our day to day life, whether old or young or whatever gender or race or where you are from.
Where have been some of your favorite places to travel and exhibit your work?
I’m lucky that my work has brought me to travel a lot and often to places I never thought I would go. One of my first exhibitions outside of Canada was in Norway and I fell in love with that place. I have now gone back a few times and it is a place that feels like home.
These women encased in these cages of brash imposing paint or comic books that masks their very person, symbolize the struggle that women go through… limitations society places on women, corrupting what truly is beautiful by placing women in these prisons of identity." “
What is a typical day in the studio like for you?
I usually start quite early, start with a coffee and answering emails and then I spend most of the day painting, time goes by so fast. On some days I sketch and prepare my backgrounds and work on all the other stuff but most of the time I just paint.
What are some future goals for you professionally?
I had my first museum solo exhibition last year at MOAH in California and I would love to do more of these. Also would love to work on an exhibition outside the walls of a gallery or museum but a space that would allow me to create installations and larger projects.
What do you see as the role of the gallery in the evolving global art market?
I think social media has been an incredible tool for artists; buyers have become used to buying editions and also originals online, and an artist surely can take care of a lot of things by themselves. But a gallery is not only there to offer white walls to the artist. It is there to give him credibility, elevate him, to help him grow and/or develop his career and market. To offer their knowledge and support and give them opportunities and help them create larger projects. Also to take care of media and public relations. To take care of a lot technicalities that will give more TIME to the artist to create. A gallery can become like a family in which you can trust and will always have your back.
Who are some of your heroes? My son, without him I wouldn’t be where I am today; he gave me the courage to trust myself as an artist and makes me want to be a better person. He is my hero.
