STATEMENT

My painting is intended to be a springboard allowing me to dive into the intangible. I explore the boundaries between figuration and abstraction, and I seek the quintessence of the force that emanates from these dualities and their points of fusion.
Challenged by the inductive thread of union and entropy, I initiate a dialogue between the opposing characters of shadow and light, life and death, intuition and reason, time and 'space. I try to draw from it and extract the intensity of emotion, through characters and hybrid forms, animist chimeras that my inspiration conceals.
Without a final concept, my paintings are characterized by the combination of an abstract style and a pictorial language, superimposing texture and material, combining layers of glazes and pastels; I construct and deconstruct them with the breath of my visions, in constant quest for haptic prescience. Some paintings can symbolically incorporate recycled heritage or urban artifacts, timeless imprints.
My prints also draw on the intuitive and pareidolic process, merging engraving and drawing.
My works suggest an introspective connection that can help question the intimate links between consciousness, space and time.

TEXT BY “CANOLINE CRITIKS”
JOCELYNE BELLEMARE
"Human and supernatural grace"
"We are tempted to give these presences a personality. Their apparent coldness is combined with a sensual approach to the face, the eyes and the lips in particular, which reveal the clues of a character. The shaved heads confer an animal and almost robotic, both tribal and cybernetic. These singular individuals with a human and supernatural essence have an emotional force which confronts the familiar and the unknown, with grace and incarnation. If anatomical realism relies on balanced proportions, the artist wishes to favor emotion over the exact restitution of the figure and its identity.
“Even if my characters represent women, I like to give them an androgynous side, thus expressing emotion in its purest form. »
The artist first creates an abstract textured background using her fingers, guided by her intuition. Then, faced with an apparent desire to erase, the expression of a figure shines through and becomes accessible. It is often born according to the process of pareidolia, inspired by shapes that emerge. The portrait is then sketched using graphite or pastel, always with her fingers, to then be refined with the oil glaze technique. A few fragments of crystals, metal or other urban artifacts sometimes enliven the surface.
The question of time arises in front of the work of Jocelyne Bellemare. If the artist juxtaposes the references, her pictorial intention is anachronistic. “My work does not seek to situate itself but rather to point towards space and infinity to question the intimate links between consciousness and time. »The painter brings to light the consciousness of a present, spectral images which emerge from the depths of a past to project them towards a future to come. These temporal strata essentially reveal parallel spaces which come together and are juxtaposed.
It is a proposition between the immutable and the ephemeral. The evocation of the transitory character is reinforced by work of construction and deconstruction of the figure and the background. The diffusely worked background reveals a recurring gesture which evokes the cycle, the union; that of the earthly and the divine. It is the cycle of life, from beginning to completion, from accomplishment to prelude.
“My approach is intended to be a springboard towards the unfathomable and my process of interweaving between the figurative-abstract is inwritten in this cyclical search for the unknown. »
Placed in the space-time of their appearance, Jocelyne Bellemare's figures become enigmatic and leave us free to move from one reality to another, from one temporality to another to try to understand them. Beneath this obvious presence-absence, a continuum of sensations shines through to the greatest pleasure of our pupils.
Canoline Critiks.