Located on either side of the main entrance to the college, the installation is unified by a background painted in intense shades of blue. Toward the cafeteria, two large wood veneer panels fan out, a
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The installation consists of a gigantic glass prism with a rectangular base, which is split in the middle to disclose a silky texture that longs to be touched. The rectangle is covered with letters th
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The sculpture is inserted in an aluminium box and embedded into a brick wall. The surface made of a green resin plywood and represents a playground. A median line and two goal areas mark out its borde
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A 43’ high glass and glulam installation marks a public plaza and is visible from the library and all approaches. The glass has an abstracted, lifesize image of a cedar tree. Framed by this sculpture,
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Fine blue roots are painted onto a surface composed of twelve wooden boxes that have been dyed white. The central element, located in the foreground, is divided into three parts. On the bottom, handwr
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The Wreck:Fascinated by the mysterious wreck of the Lady Era, which washed up on the shores of Port-Cartier over 20 years ago, the artist made it the focal point of this work. Thus, a steel silhouette
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A precise recreation of Toronto’s official nuclear fallout shelter, built in 1962 at the height of Cold War tension, allowed Torontonians to explore the interior of the shelter as it was before it was
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Sculpture consisting of two elements reproducing on a large scale the specific motifs of an Inuit string game and of a brass inlay work installed in the floor's surface. In the Inuit language, the wor
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A series of seven rusted metal pedestals in which the letters of the word “Babylon” are formed as interior voids. Mounted atop one pedestal is a large urn set at a tilt, and atop another is one of McE
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The installation includes rectangular stainless steel plates and words cut out of steel sheets. Inserted between plates, these words form eight sentences. The work as a whole lies on a gravel bed with
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/index.jpg "Rose-Marie E. Goulet, À l'étude, tome II, 2000. © Rose-Marie E. Goulet")
