If there is a common thread in Geneviève L’Heureux’s work, whether drawing or print, geometrical or figurative, it is her attempt to touch our senses, our humanity.
Resting on the notion that contrasting concepts stand as irreconcilable polar opposites (black/white, on/off, good/bad…), the western philosophical tradition has created a binary world of either/or, a world of exclusion, defying what she believes to be our true dualistic being. She tries to challenge this system of belief by bringing opposite qualities to work together and off each other, to coexist without competing with one another. It is therefore no coincidence that in her work forms simultaneously appear heavy and light, solid and transparent, or permanent and ephemeral. The ‘Hands series’, respectively inspired by Bernini ‘The Rape of Proserpina’, Carpeaux ‘Ugolin’, Rodin ‘Pierre de Wissant’ and Bourgeois ‘The Welcoming Hands’, plays on the duality between light and darkness, with the form purposefully sinking into and emerging out of darkness, all at once.
She likes to think that if we are touched, or perhaps momentarily destabilized, it is that the work brings us away from the established norms we have inherited and closer to our very essence.