Andrée Vézina was born in 1952, in Montréal. She completeda B.A. in Sociology at the Université Laval while studying drawing in cegeps, museums and various workshops. After she left university, she experimented more thoroughly in art. She ‘s selftaught. her major solo exhibitions were held at Pratt & Whitney in Longueuil (1986); Galerie la Corniche in Chicoutimi (1987); Alliance française in Ottawa (1988). She has also participated int he exhibitions:”Les femmes peintres du Québec” at the Musée Marc-Aurèle Fortin (1989) and “Les Femmeuses”. She won 2nd and 3rd prizes awarded by the Canadian Watercolour Society in 1984 and 1985. She was also nominated “Artiste de l’année” at Pratt & Whitney in 1986.
Guide Vallée III.
Andrée Vézina has been an active member of the visual art scene in Québec for over thirty years. Her work is essentially centered on thematics, which prevail over her production, closely connected to seasons.
Winter dims her colour palette, reflecting ambient luminosity as well as interiority inherent to this season. Musicians, tango dancers and theatrical display evolve subtly.
Spring reanimates colour. Yellows, acid greens, bright pinks strive against shivery blues. Travel related themes emerge. The artist explores light from warm and sunny countries, depicting African women, Vietnamese pirogues, and laborers in fields or rice plantations.
Summer warms the palette extensively, blending pinks, yellows, reds, oranges and violets. Colours and tones become vivid and intense, bringing forth flower bouquets and markets, street musicians, celebrating life!
Autumn restores serenity with muted harmonies. The cycle of seasons initiated with fruit and vegetable markets now comes to term with still life of dry and faded flowers, late autumn fruit, and abandoned gardens. Tones of brown, ochre and black now prevail, inviting the return of vanished musicians.
The plastic art of Vézina features generous textures created by the abundant use of material, allowing the artist to literally fragment paste. This dimension confers a tactile facet to her work, as she marks her canvas with irregular patterns flowing through the entire surface. The subject appears to be emerging from magma, engendering a fusion between form and matter.
Ref. Robert Bernier in La peinture au Québec depuis les années 1960 Éditions de l’homme, pp. 327-328