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My distinctive painting is inspired by my studies in graphic design, my training in eastern art and my work in abstract art with Mrs Françoise Sullivan, cosigner of the Manifeste du Refus Global du Québec.

From those combined influences, I developed a very personal approach to art, in harmony with my thoughts and feelings. It is a philosophical way of painting, both poetic and mystical.

My artwork is made distinct by a minimalist approach, abstract and contemporary in its shapes, colors, and space. Their conception is initially based on an Oriental approach and inspiration. Following my deepened knowledge of brush handling and of ink in Chinese calligraphy, I was able to personalize my strokes and to develop a very personal technique through the acrylic medium I use. The black stroke, which refers to Chinese calligraphy, is reduce to the essential. The shape depicts the apparent reality of the subject, while its vital energy, its Ch’I or “breath of life,” breathes strength and energy into the painting. The Western influence brings a dynamic and contemporary side to the painting. I favor the acrylic medium because it allows me to create my own colors; it allows me to play with an infinite quantity of options and thus create shades and intensity with perfect subtleties.

First, I apply the colors with a flat, with great care, in many thin and successive layers, without creating depth or perspective. The empty spaces (the whites) and the filled spaces (the colors) – the yin and the yang – are then carefully balanced, by inserting them following the “all over” principle in abstract art. That principle suggest that the artwork extends itself beyond the canvas. The paintings are created in solo and are often presented in polypytch

sets, which adds a new dimension to the paintings. This is also a nod to the multiple panels that are characteristic of Chinese art.

Furthermore, in ancient Chinese philosophy, the signature is an essential element of the painting, which is considered and affixed with the purpose of balancing the painting. The position of my red signature, on the side of my paintings, in an integral element of my artistic journey, always in an idea of stripping and lightening. The vermillion (red) color used for the signature recalls the cinnabar paste of the Chinese seal.

With my new 2021 collection, I use the circle as a new symbolic, a new code, as an entry door to the imaginary world of abstract art. The observer just needs to get impregnated by the form, the symbolic of the circle, revealing its meaning, its message. I call it : The sacred circle.

“The entire work of Élise Caron: each artwork is unique and genuine and sufficient within itself. But at the same time… each artwork (in association) can become a part of one or many sets, and thus create… like magic… a new artwork of its own. That is so

seldom!” Renée Gilbert, commissary to the “Pureté et Dépouillement” exhibit of Élise Caron, in the Marius-Barbeau Museum.