Artiste: Dave LeRue

Oeuvres choisies

Curriculum vitae

Education

Ph.D. Art Education, Concordia University 2019 – 2024 (Expected)
MFA Painting and Drawing, Concordia University 2016 – 2019
BFA Studio Art, NSCAD University 2010 – 2014

Residencies

2018 Textiles Center Residency, Textiles Center, Blundos, Iceland

Selected Solo / Dual Exhibition Record

2018 Le Paysage Carrefour Identitaire, La Chapelle atelier-galerie, Bromont, Quebec
2017 Each Zone a Mantle, Ross Creek Center for the Arts, Nova Scotia
2016 SHOWDOWN, Hermes Gallery, Halifax, Nova Scotia
2015 New Work, Argyle Fine Art Gallery
Tacky (The Wrong Price), Streetfunke Gallery, Halifax, Nova Scotia
2014 BOND, Argyle Fine Art, Halifax, Nova Scotia
Stadium Culture, Anna Leonowens Gallery, Halifax, Ns
Selection of 5, Garrison Brewery, Nova Scotia

Selected Group Exhibition Record

2018 Imagining Iceland | Ímyndir Íslands- Textiles Center, Blundos, Iceland
Maureen III, Darling Foundry, Montreal, Quebec
2017 Invisible Bright Touch, Cork Street Project Space, Halifax, Nova Scotia
Right to the City, Sur La Well Project Space, Montreal, Quebec
2016 Talisman, Concordia University MFA Gallery, Montreal, Quebec
La Rerentree, Mainline Theatre Gallery, Montreal, Quebec
All That and More, The Local, Halifax, Nova Scotia
2015 Sleepy Town Studio, Lunenburg studio Residency, Lunenburg, Nova Scotia
, Streetfunke Gallery, Halifax, Nova Scotia
NSCAD University Graduation Catalogue Exhibition, Halifax, Nova Scotia
Silver and Gold, Eyelevel Gallery, Halifax Nova Scotia
2014 “Y-Level” Atlantic Canadian Emerging Artist Exhibition, Eyelevel Gallery
Works Selected for Teichert Gallery at the Art Gallery of Nova Scotia
“Canadiana”, Argyle Fine Art Gallery, Halifax, Nova Scotia
2013 Works Selected for Art Sales and Rental Gallery at the Art Gallery of Nova Scotia

Awards and Grants

2018 Concordia University International Travel Award
Concordia University Committee Participation Award
Concordia University Faculty of Fine Arts Fellowship
2017 Concordia University Graduate Mobility Award
Tom Hopkins Memorial Scholarship
2016 Concordia University Out of Province Tuition Remission
American University Entrance Award, Tuition Remission, and Stipend (offered)
2014 Arts Nova Scotia Creation Grant
Robert Pope Bursary
2010 A&H GMAC Real Estate Bursary

Publications

2018 Imagining Iceland, Concordia University Publication
Concordia MFA Publication
2017 Right to the City Exhibition Publication
Concordia MFA Publication
2015 “Get That Gold,” Works shown in the Coast newspaper, Halifax, Nova Scotia
“At the Galleries”, Exhibition review of SHOWDOWN, Chronicle Herald, Halifax, Nova Scotia
2014 Y-Level Exhibition Catologue, Eyelevel Gallery

Talks and Presentations

2018 Colour Presentation, the Colour Conference, Concordia University
2015 SHOWDOWN team talk, Hermes Gallery
2014 Lunchtime Talks, Stadium Culture, Anna Leonowens Gallery

Related Work Experience:

2018 Painting Instructor, Concordia University, 2018- Present
FFAR 250 Tutorial Leader, Concordia University, 2017– Present
Teaching Assistant in Studio Arts, Concordia University, 2016 – 2018
Theatre Department Admissions Weekend Coordinator, Concordia University
Oral History Research Assistant, Concordia University, 2017 – 2018
2016 Sales and Logistics, Local Source Market, 2015 – 2016
2014 Studio Assistant to Sara Hartland Rowe, Bridge Terminal Mural

Related Volunteer Experience:

2018 Faculty of Fine Arts Council and Steering Committee, Concordia University, 2016 – 2018
President, MFA Studio Arts Students Association, Concordia University, 2016 – 2018
Co-Curator, Co-Founder, Co-Planner for Stack Effect 9, Concordia MFA Award Show, 2018
Co-Organizer and Planner of the Colour Conference, Concordia, 2018
2017 Eyelevel Gallery Board Member, Halifax, Nova Scotia 2015 – 2016
2016 Hermes Gallery Volunteer Sitter, Halifax, Nova Scotia, 2015 – 2016
2015 Co-Organizer and Curator for Streetfunke Pop-Up Gallery, 2015 – 2016

Démarche artistique

Et pourtant ça bouge / Eppur si muove / And yet it moves /

Exposition solo 2020

On retrouve dans toutes les villes du monde des bâtiments qui appartiennent au passé et qui semblent disjoints ou saugrenus par rapport à leur environnement d’origine. Les églises, les monuments, les usines ou les arènes d’hier ont été construits avec les intentions spécifiques de leur époque, souvent très anciennes, et dont la portée nous échappe aujourd’hui. Néanmoins, les touristes parcourent de grandes distances pour voir les ruines de l’Acropole, la communauté mondiale pleure l’incendie de Notre-Dame de Paris et les Québécois aiment se souvenir de l’architecture des principaux pavillons de l’Expo 67. Il arrive même qu’on donne une deuxième vie à certains éléments architecturaux comme les vieilles usines en les transformant en copropriétés dans les quartiers branchés de la ville.

Dans cette exposition, je me suis demandé quels rôles viennent jouer les constructions du passé dans l’esprit du temps d’aujourd’hui. Quels sens donnons-nous à ces édifices appartenant à des mondes, des croyances ou des certitudes révolus? Même si les édifices que j’ai peints ne répondent plus à leur utilité d’origine, en leur présence, je suis envahi par diverses pensées et sensations, je suis hanté par les traces d’un passé qu’il m’est impossible de connaître.

Le titre de l’exposition reprend les paroles de Galilée, qui, après avoir dû renier sa théorie, face au tribunal de l’Inquisition, selon laquelle c’est la Terre qui tourne autour du soleil et non l’inverse, aurait chuchoté: «Et pourtant ça bouge». D’autres ont traduit ce chuchotement par l’expression «Et pourtant, elle tourne». Aujourd’hui, cette expression est utilisée lorsqu’une personne se rallie à une opinion majoritaire tout en gardant une conviction contraire en son for intérieur.

Cette exposition jette un regard sur le passé et interroge les architectures d’un autre temps et leur rôle dans la vie d’aujourd’hui. Même si leur présence peut nous paraître incongrue dans le monde actuel, nous continuons de les apprécier pour ce qu’elles nous inspirent. Nous acceptons leur incongruité, car à travers le temps… pourtant elles bougent.

Dave LeRue


And yet it moves // Eppur si muove // Et pourtant ça bouge

Cities are full of constructions from the past that are disjointed from the contexts in which they were built. Churches, monuments, factories and stadiums are built with specific meanings in cultures whose zeitgeists are inaccessible to us now. Nevertheless, tourists travel great distances to see the ruins of the Acropolis, the global community mourned the burning of Notre Dame, and Quebecers reminisce about the architectures of Expo 67. Other kinds of buildings, such as former industrial architectures such as factories and the Lachine Canal, find new lives as condominiums and amenities in trendy city districts.

In these paintings, I have asked: What role do architectures from the past play in the zeitgeist of the present? And what meanings do we derive from the products of ideologies we no longer have access to? Even though the architectures I have painted no longer complete their intended function, I am flooded with thoughts and feelings in their presence, left haunted by spectral traces from a past I can never know. The title repeats the words of Galileo, who on trial by a state that believed the Earth was the center of the universe allegedly uttered, “And yet it moves.” While this phrase is now used to describe someone who renounces true knowledge, philosopher Slavoj Žižek argues it can also be used to describe a deeper symbolic truth about something one knows not to be true, such as a non-believer being moved by God even though she is an atheist. Perhaps this insight can help us to understand the role of past architectures today—even though we are aware of their irrelevance, their continued appreciation is evidence of their deeper symbolic meanings. We can understand their irrelevance… And yet they move.

Dave LeRue

Vidéos