Prozirna antomija, iznutrice na površini, apsurd sublimnosti, hiperrealističnost mitologije, mehaničke proteze biologije, komičnost religije, jeftino stvorene mutacije...
Born: Montreal, Quebec 1970
Taillefer's work is an original creative fusion of classical figurative painting, surrealism, contemporary realism, and mythology combined with popular figurative traditions ranging from Victorian romanticism to science fiction.
Born in Montreal, Quebec, she began drawing at the age of 3 at the encouragement of her mother who is also an artist. During 10 years of private art lessons as a child she developed skills mainly in watercolor, and was strongly influenced by surrealism, combined with a general interest in technology and biology.
It was by the mid-80's her work began to take on the markings of an obsession with technological development throughout society, whose imagery reflected what is now widely recognized as a growing hybridization of humanity with technology. Originally depicting subjects as machines placed in natural settings, her work acted as a nostalgic embrace of the past, as seen through the lens of a culture racing forward at high speed, fitted with massive technological advancement.
While pursuing a degree in Humanistic studies at McGill university,
Taillefer's focus of study was the classics, which informs her work to this day as she parlays many mythological and cultural references into her paintings. Her art is consonant with some early 20th century surrealists such as Max Ernst, Paul Delvaux, and Giorgio de Chirico. In the depiction of disparate mechanical assemblies conveying a universal idea, to the appropriation of meaning to objects which highlight subconscious preoccupations, or an exploration of the metaphysical as a dream-like parallel to this world, she also brings a contemporary spin to often classical icons.
My work reflects some of the early 20th century surrealists such as Max Ernst, Giorgio deChirico, and Paul Delvaux, and is an original creative fusion of classical figurative painting, surrealism, contemporary realism, and mythology combined with popular figurative traditions ranging from Victorian romanticism to science fiction.
I have always been drawn to the bizarre and unusual, while maintaining a wide variety of interests, from the ridiculous and the absurd to the sacred and sublime, and all throughout these interests have encompassed ideological concerns about the environment and the impact of technology on society. In the late-80’s I began depicting mechanized subjects placed in natural settings, which acted as a nostalgic embrace of the past as seen through the lens of a culture racing forward at high speed, fitted with massive technological advancement.
My paintings are meant to denounce or celebrate technology and the changes it either promises or threatens, as a projection of what we are becoming with both the appeal of the familiar and the jolt of where we are headed. By using “automatic” mechanical motifs instead of todays current digital trend, the principle of technology is more easily maintained against increasing miniaturization and the invisibility of electronics, remaining anchored firmly within our field of perception.
In more recent years, I have painted about philosophical observations on life which are drawn out of personal experience, and parlayed into an exploration of universal issues common to everyone. Using the original language of mechanism found throughout my work, I explore eternal aspects of the human condition while portraying a growing hybridization with technology despite our immutable human nature. In this way I examine the new relationship between artificial enhancement of the body and daily life, combined with the primitive fundamentals of our human character. - Heidi Taillefer