projects | exhibitons

Salle Blanche / Clean Room

Installation, Audiovisual
ELEKTRA gallery,
pôle de Gaspé, Montréal (2023)

Text : Florentine Wüest
Credits : Alejandro Escamilla

Clean rooms, a term used in industrial or scientific research, are sanitized and controlled production spaces in order to minimize the introduction, generation, retention of particles, to increase profitability and guarantee the quantity and quality of productions. 

The artist takes a sensitive look at the minimalist aesthetics of these industrial materials and reuses the utilitarian codes of the machinery of the production lines, which he sublimates. Thus, the imposing and delicate frame composed of extruded aluminum and acrylic appears as a showcase in which the 3D modeling tool operates its protocol to generate an installative and artistic corpus in real time. 

This composition emphasizes the current action and questions the artistic creation processes in the light of new technologies and mass production.

–  Florentine Wüest


l’Œil de Poisson
(big gallery), Méduse, Québec (2022)

Curator : Jean Michel Quirion
Credits : Charles Fréderick Ouellet

Through his most recent work, Morgan Legaré is showing interest in the bilateral mechanisms between automation and control. A true specialization in industrial control, automation is a process designed to increase profitability, as well as to guarantee the quantity—and quality—of production using advanced technologies. According to the workings of these technical systems, the artist creates in a counter-productive way with a 3D exploration software in order to challenge practices dehumanized by automation.

The bi-three-dimensional experiments of the Extraction corpus are precisely integrated into the architectural components of the white cube of L’Œil de Poisson. Curated by Jean-Michel Quirion, this first exhibition in an artist’s centre for Morgan Legaré is a series of micro-projects. By interventions of an imposing fragility, built in extruded aluminum profiles, the artist builds the space differently. A high structure in the centre of the gallery acts as a portal to interconnected interstices: from the inside to the outside, from the unstable to the solid, from the imperceptible to the visible. Through images with illusionistic effects, material stimuli in textiles and extraordinary structural devices, sorts of protean decoys, Legaré diverts the perception of this vernacular place of Medusa in tricks. Forms and functions come into tension.

Fibre assemblies and mouldings, made in situ during the installation period at L’Œil, are available here and there on aluminum supports and concrete floor. The reliefs of textiles with polymorphic textures are fixed in negatives. The backs are exposed. The subtle imprints of the metallurgical profiles reveal themselves in a permeable composite. The material, of precarious stability, rises and collapses.

Moreover, alongside these proposals, Legaré shows the images of Extraction. Digitally shaped from molds made directly on the supports and preparatory 3D models, these generate their own spatial variations and reveal liminal interstices. They are comparable to (re)mise en abyme. The visual extractions are arranged in the gallery as windows overlooking a virtually reproduced Fish’s Eye. The work Consonances intemporelles (2022), positioned on an inclined partition in a corner, is particularly attractive. The pixelated reflections, a kind of disturbance caused when rendering the image, lead to believe that it is a dysfunctional screen.

This installation skillfully replays traffic and especially contemplation. Visitors. are captivated by embodied material misappropriation. The works are slow processes and techniques stubbornly ambitious, laborious and, moreover, parsimonious. The realization processes, resulting from know-how and applied gestures, not automated, but controlled by Morgan Legaré himself, are salient. The pieces are thus extracted from the productivist logic that has become the precept of industrialization. The present corpus de-reconstructs conditioning and optimization. It is immanent to what is made both by the hands of the artist in his studio and on his screen.

–  Jean-Michel Quirion, curator

Automatisation & contrôle

Galerie Laroche/Joncas
Belgo buidling, Montréal (2020)

Text : Émilie Granjon
Credit : Mike Patten

Invited to present his research combining digital art and sculpture, Morgan Legaré will present the fruit of a several-week residency at the Laroche/Joncas gallery as part of a solo exhibition from September 1 to 15, 2020. The artist will present works realized through 3D renderings and digital prints, having as a starting point the mesh between virtual object and physical materiality. Printed images, architectures and spatial arrangements enter into dialogue in the exhibition space to generate new cognitive-perceptual experiences. In creating his installations, Morgan Legaré offers the viewer an unusual sensory experience. He uses sculpture in an alienating form, inviting the viewer to interact with this new spatiality.

Drawn from a specialty that is part of the spectrum in industrial control, Automation is a process aimed at increasing the yield and production quality of one. e by giving him access to an advanced technology.Echoing this specialty, while exploring the strain of its definition, the artist works in a way counterproductive with 3D exploration software in order to thwart the calculation of images and thus create unfinished works. It is then that by capturing the image in full modeling that orange squares and marks of digital renderings appear, resuming control on a method called automatic, he questions the reality of a work accomplished and/ or shared with this technology.

–  Émilie Granjon