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MORGAN LEGARÉ (QC-CA)
Salle blanche / Clean Room
ELEKTRA GALLERY
SEPTEMBER 08 - OCTOBER 21, 2023 - Montreal, Quebec, Canada
Tuesday – Saturday: 12–5PM
Free entrance
10.19.23 - CONVERSATION 6:00 -7:00 pm - Conversation with Morgan Legaré on the process of artistic creation, the birth of a body of work through new technologies and mass production.
BIO
Originally from Trois-Rivières, Morgan Legaré is an up-and-coming artist who lives and works in Tiohtiá:ke/Montreal.
With a degree in visual arts and a self-taught multidisciplinary approach, his practice oscillates between installation and media art.
His work revolves around the creative process; he examines this subject by using exhibition spaces as reference and raw material. He conceives in-situ installations and continuously reinvents cognitive-perceptive experiences. He produces artworks using 3D modeling software to create printed images, videos, modular architectures, spatial, pictorial, and sculptural arrangements.
His artworks have been incorporated into the Majudia and Ubisoft Montreal collections, as well as several other private collections in Quebec. His work has been featured in solo and group exhibitions, notably during the 5th edition of Artch Montreal 2022, at the L’OEil de Poisson artist center in Quebec in 2022 and also at the Laroche/Joncas gallery in 2020. He is also a member of the CLARK artist center. He regularly donates his creations to organizations such as "Les Impatients" for their "Parle-Moi d’amour" exhibition.
As part of the exhibition Salle blanche / Clean Room presented at Galerie ELEKTRA, Morgan Legaré continues his research into industrial automation and control, with particular emphasis on production lines.
Clean rooms, a term used in industry and scientific research, are aseptic, controlled production spaces designed to minimize the introduction, generation and retention of particles, in order to increase profitability and guarantee the quantity and quality of production.
The artist takes a sensitive look at the minimalist aesthetics of these industrial materials, reusing and sublimating the utilitarian codes of production line machinery. In this way, the imposing, delicate framework of extruded aluminum and acrylic appears as a case in which the 3D modeling tool operates its protocol to generate an installation and artistic corpus in real time.
This composition emphasizes the action in progress and questions the processes of artistic creation in the light of new technologies and mass production.
Photo credit: Alejandro Escamilla