LAUREN PELC-MCARTHUR

In her professional practice, Lauren Pelc-McArthur responds to the potentialities of digital culture and addresses its seduction, shallowness, and inherent conflicts of meaning.   In the past, her approach to this research has been interdisciplinary. However, her compulsion now is to paint.  In painting, she can stress the importance of a physical presence in an exponentially flat-screened society.

 

Contradiction is an integral part of Pelc-McArthur’s work—implied in subject matter and expressed through many painting styles that coexist on a single canvas.  Almost all of the aspects of visual culture are mitigated through screens now.   The artist aims to destabilize the act of screen-biased painting through scattering optical effects, which are difficult to see unless the viewer is physically situated with the work.  Pelc-McArthur employs a series of techniques to achieve this including using paint with matte and glossy films, iridescent pigments, and a technique she calls “normal painting.”  This technique is a nod to “normal maps” within 3-D modelling computer programs; a high-chroma, pastel “digital skin” that holds information about a 3-D object’s height, shape, and texture.  While the surfaces of the artist’s paintings are generally flat, the “normal” areas are characterized by a pastel impasto application, jutting off the surface and into physical space.  The result is a mimicking of the luminosity of computer screens and subtle shifts in color depending on which angle it is viewed from.

 

Within Pelc-McArthur's paintings, visual overload, sci-fi tropes, and quasi-psychedelic flotsam and jetsam are all mediated through screen aesthetics to build imagined spaces in states of flux.   These spaces serve as fields to explore the potential for creation and annihilation amid technological and organic interconnectivity.   She populates these spaces with cyclical imagery, primordial lifeforms, and flora—suggestions of technological apparatuses and transforming humans.   All glimpses and iterations of what could be, and what could become of us.

 

 

CURRICULUM VITAE

 

EDUCATION
2019  Master Of Fine Arts Candidate, Concordia University, Montréal (Graduation: 2019)
2012  Bachelor Of Fine Arts, Drawing And Painting. OCADU, Toronto.
 


SOLO EXHIBITIONS
2016  Blanking Field, Project Gallery, Toronto, Ontario

 


GROUP EXHIBITIONS

2019  Ignition, Leonard & Bina Ellen Art Gallery, Montréal, Québec (forthcoming)

2019  CHROMAESTHESIA, Eglise St-Enfant-Jésus, Montréal, Québec (forthcoming)
2018  20th RBC Painting Competition, Power Plant, Toronto, Ontario
2018  Peinture fraîche et nouvelle construction, Art Mur, Montréal, Québec
2018  Maureen III, Fonderie Darling, Montréal, Quebec
2017  Bad Geometry, Project Gallery Studios, Toronto, Ontario
2017  Maureen II, Ancienne École des beaux-arts de Montréal, Montréal, Québec
2017  Futur futuriste, Projet Pangee, Montréal, Quebec
2016  Chapter II, PDA Projects, Ottawa, Ontario
2016  Loop Dreams, 201 Mulberry, New York, New York
2016  Chromatic, Hangar 16, Montréal, Quebec
2016  Geographically Indeterminate Fantasies, Providence College Galleries,Providence, Ri/Online
2016  Aether Into Infinity, PDA Projects, Ottawa, Ontario
2015  The Others, The Wrong Biennial, Online
2015  Surface, 99 Sudbury, Toronto, Ontario
2014  Meta, Galeria Municipal De Arte, Abrantes, Portugal
2014  Super Human, Plus Gallery, Denver, Colorado
2014  Aesthetic Dialogue, M Contemporary, Thornhill, Ontario
2014  Byob T.O! III, Power Ball, Power Plant, Toronto, Ontario
2014  Simultaneo, Sala De Arte Público Siqueiros, Mexico City

 


AWARDS AND GRANTS

2018  RBC Painting Competition finalist
2017  Lillian Vineberg Award In Painting And Drawing, Concordia University
2017  Concordia Merit Scholarship – Faculty Of Fine Arts, Concordia University
2016  Concordia Merit Scholarship – Faculty Of Fine Arts, Concordia University

2016  Tom Hopkins Memorial Graduate Award, Concordia University
2016  Ontario Arts Council Emerging Artist Grant
2014  Toronto Arts Council Emerging Artist Grant
2012  W.O Forsyth Award

 


AUCTIONS
2018  Encan Clark 29, Clark Centre, Montreal, Quebec
2016  Art Attack!, Buddies In Bad Times Theatre, Toronto, Ontario
2016  AFCY Auction, The Spoke Club, Toronto, Ontario
2014  Art Attack!, Buddies In Bad Times Theatre, Toronto, Ontario

 

 

RESIDENCIES
2015  Studio Beat’s Digital Artist In Residence, Toronto, Ontario
2014  The Roundtable Residency, Toronto, Ontario
2012  Kaus Australis Guest Artist, Rotterdam, South Holland



PRESS
2016  Neon-Streaked Pictures Blurs Boundaries Between Painting and Digital Art, Creators Project,February 21
2015  Forecast II At Project Gallery Artoronto
2014  Lauren Pelc-Mcarthur, Expresionismo Orgánico-Digital Belio Magazine. July 22
2014  Pangburn, Dj. The Digital Glitches In These Oil And Acrylic Paintings Are Just Wonderful. Motherboard (Vice).July 14
2014  Smail, Christopher. Visual Artists Under 30 To Look Out For. Illusion. May 1
2013  Blogsfera: El Tumblr Lauren Pelc-Mcarthur. Thvndermag. Nov 9
2013  Eisinger,Dave. The Best Artists 25 And Under. Complex Magazine. September 9
2013  Vanhelmert,Kyle.Paintings That Walk The Line Between Analog And Digital.Fastco Design. February 12
2013  Lauren Pelc. Triangulation Blog. January 28

Press

LAUREN PELC-MCARTHUR | ARTIST WEBSITE
LAUREN PELC-MCARTHUR IS A RBC 2018 CANADIAN PAINTING FINALIST
LAUREN PELC-MCARTHUR IN THE CONCORDIAN
LAUREN PELC-MCARTHUR IN VICE
LAUREN PELC-MCARTHUR AT PROJECT GALLERY
LAUREN PELC-MCARTHUR | THE DIGITAL GLITCHES IN THESE OIL AND ACRYLIC PAINTINGS ARE JUST WONDERFUL
LAUREN PELC-MCARTHUR | PAINTINGS THAT WALK THE LINE BETWEEN ANALOG AND DIGITAL