Thierry du BoisMontréal, Canada
Thierry du Bois (born 1984, Belgium) graduated in visual communication at the ERG. Upon graduation, he worked as a photographer for the Belgian press. He covered a variety of political events, such as the Belgian 541 days government crisis.
In 2015, he started a new career in Montreal and had the opportunity to work for different companies. In parallel, Thierry du Bois developed his artistic projects. He received an honourable mention by the MIFA for his work Projet Y, exhibited during the Nuit Blanche de Montréal and published by IGNANT (2016). As for his #A_Dieu_Soleil series, it was exhibited during the Timeraiser150 event (2017). In 2018, he obtained a grant to participate in the Artch exhibition. He then participated in the group exhibition on the Future organized by Le Livart (2019). His project L’édification de la lumière has just received a grant from the Canada Council for the Arts.
Thierry du Bois practice combines different approaches to photography. The artist creates links between contrasting elements, confronting them in the same context.
About the artwork
L’édification de la lumière
Two and a half centuries after the end of the Middle Ages, the age of Enlightenment began this transition from obscurantism to an era of knowledge. But what about now? Our knowledge of light, the one that overwhelms urban nights and illuminates today’s castles? What discourse can we draw from the illumination of financial sites and office towers? Prestige or relics to become?
Through a minimalist plastics research that makes the structure of the buildings disappear, I wish to reveal this construction of light as a subject. A subject not illuminated, but illuminating. A subject producing a discourse of which we do not always realize the significance and which disappears behind the obviousness of the subject : the buildings illuminate the cities at night. However, beyond this comforting aspect of the light, the way in which the luminous flow organizes itself through multiple interspersed sources, without touching each other, produces a visual code of mystery, a language sometimes more disturbing than comforting, because it isinducing separation and imposing hierarchy.
This layering of lines and luminous points, is it a metaphor of the pixelation of the social?
What remains hidden behind this debauchery of lumens in the absence of the human?
COME MEET THE ARTIST
PLACE MONTREAL TRUST
1500 Avenue McGill College
Entrance Avenue McGill College, Level 2 – Room B043A
Photo : Camille Dubuc