About The Work
Revoir la vision. Explorer les frontières entre la réalité physique et imaginée, entre le perçu et le mal perçu. La série Constructions se sert de paysages en tant que structures au moyen desquelles explorer et décortiquer ces territoires de la vue. « Ce que nous voyons est en transformation continue, fait remarquer cette artiste qui se demande pourquoi le vu a priorité sur le rêvé ou l’imaginé, alors qu’ils sont parfois si similaires. »
N’hésitez pas à vous servir des lunettes pour découvrir une quatrième perspective dans cette image 3D combinée.
Re-envisioning vision. Exploring the boundaries between physical and imagined realities, between the perceived and the misperceived. The series “Constructions” uses landscapes as structures with which to investigate and pull apart these territories of sight. “What we see is constantly in transformation,” says this artist who wonders “why the seen is prioritized over the daydreamed or the imagined, when sometimes they can be so alike?”
Please use the glasses to discover a fourth perspective in this combined 3D image.
impression à jet d’encre / ink jet print encadré / framed
WHAT TYPE OF PAPER IS THE PHOTOGRAPH PRINTED ON?
All prints are Digital Pigment prints on museum-quality acid-free papers such as Museum Etching, Canson Rag and Arches Velin. These papers are designed to meet galleries and museum longevity requirements and ensure consistency of shades 200 years old. The choice of paper is suggested by the Photographer according to his or her preferences.
WHAT IS THE PRINTING PROCESS USED?
All prints are Digital Pigment Prints using the latest top of the line technology, archival high dynamic inks and 200 years old life paper.
IS THE IMAGE SIZE THE SAME AS THE PAPER SIZE?
NO! Our prints are on standard paper sizes and we don’t alter the image size and proportions to fit the paper. Each print has a minimum of 0.5 inch white border. This is an artistic decision that belongs to the artist. Margins don’t normally exceed 2-4 inches on each side depending on the final paper size.
Annie Briard is a Vancouver-based visual and media artist challenging visual perception and memory through moving image and photography focused work.
Briard has exhibited in solo and group shows across Canada and internationally, including galleries and festivals in New York, Rio, Barcelona, Madrid, Basel, Shanghai and Beijing. She has delivered engaging temporary public art in Montreal, Hamilton, Vancouver and Victoria, including video installations Arborescence and Comment délaisser le sol à jamais for Art Souterrain (2009, 2012), interactive animations The Woods and Winterplay (2012-2014) and in 2015 produced the stereoscopic 3D billboard Any Day Now for Art in Transit Toronto and Capture Festival Vancouver.
Briard was an artist-in-residence at the Banff Centre and was selected by the Centre International d’Art Contemporain to represent Canada at the WEYA symposium in England in 2012. The following year, she presented solo shows at Back Gallery Project, Black & Yellow and VIVO media arts centre in Vancouver, and Centre 3 in Hamilton. In 2014, Joyce Yahouda Gallery in Montreal presented ‘Sight Shifting’, a solo exhibition of new works focused on perception and wonderment. Briard is currently preparing solo exhibitions for Winnipeg and Montreal as well as an artist residency in Spain.
In conjunction with her practice, Annie Briard is an educator at Emily Carr University. She holds a BFA from Concordia University and an MAA from Emily Carr University (2013). Her work is represented by Joyce Yahouda Gallery and Back Gallery Project.