Patrick Chevalier

A statement by the artist.

When I reflect upon my progress as an artist and I see a journey that has been a snaking, winding and interjected voyage. It has been path leading me through deep, dark mazes with many a dead end but some horizon. I have long accepted that my creative life would be profound yet troubled a mountainous journey.

In my backpack.

From 1991-1996 I studied towards a double major bachelors in Studio Arts and Art History at Concordia University as well as a minor in Theater. Primarily studying in the classical drawing and painting this degree remains incomplete but for a few credits as difficult circumstances lead me away from my studies. I gleaned the most important lesson of my academic vocation the year I studied a session in Methods and Materials of art history which profoundly affected my appreciation for creation in the fine arts. Learning how to work natural and raw materials such as animal glues with elemental materials in order to create a work art from a proven seizing or gesso ground, to fabricating and sketching form dry mediums and pigments and learning the craft of painting and drawing building from “conté de paris”, charcoal, graphite and silverpoint and further pressing onto the techniques of layering aqueous mediums such as aquarelle, gouache, tempera, acrylic; oil and encaustic was an instrumental underpinning for my later discoveries and experimentations.

Taking the right turn to the wrong place

Resting on the basics for pictorial and figurative art as a basis I was exposed in tandem to modern and contemporary of art. I began investigating collage and assemblage which where antithetical techniques to the aforementioned pictorial traditions.  Collage and assemblage generally disregards or frays the conventional understanding of what is considered an object of fine art. From that point forward my approach altered towards a general and diversified method of art production.

While my orthodox goal for permanence in creating art remained a strong influence alternate and contemporary forms of expressions began shifting my focus for art making towards that of the purpose of making art. This metaphysical struggle brought me to an introspective quandary in which my sole purpose for creating art rested squarely on the futility of its creation.

I began to attempt to formulate works of art based on this illusory state of permanence while still clinging to material concerns. Concentrating on the art as artifice and artifact. I wanted to show primarily the dichotomy present in a work that is the result of an ephemeral act interacting on permanent materials which in fact are as impermanent as the conception of the work itself. In hindsight I was heavily affected by the entropy of art history. As an artist I had painted myself into a paradox.

Fraking post modernism

I was particularly affected and worried about by modern, post-modern and contemporary schools of thought and I spend most of my time invalidating my own works as I found that the only redeeming quality that the contemporary art society had for creating art was heavily biased on an obsession with innovation. The new fallacy of the new. That unless a work of art demonstrated something “new”, a new technique, a new medium, a new idea, a new movement, that it was in fact invalid. Tradition was therefore dead, relegated to craft, no longer a effective expression of art; marginalized.

In struggling with this inescapable paradox for a great period of my creative life, producing of art became delicate, halting and difficult. It still remains so yet I believe that this struggle will help imbue my works with a central theme one that will be consistent and evident throughout this exhibit. As create I attempt in a way to reconciliation with myself and with the act of creating art. I attempt each time to re-validate my existence as an artist. I continue because my heart commands me to create despite the apparent futility of the action and indeed it remains essential to my well-being.

Drawing the map and creating the road.

It is by completing this exercise and by promoting and creating more works that I intend to break through. I is by presenting my portfolio in the following trinity of Conception, Inception and Existence that I propose to finally erupt from this isolation and restraint.

Patrick Chevalier

Patrick Chevalier

Written by Patrick Chevalier. Posted in Patrick Chevalier

The structure of the work is the trinity.


An abstract idea; a plan or intention; … Mid 16th century (in the sense 'thought, imagination'): from Latin conceptum 'something conceived', from Latin concept- 'conceived', from concipere (see conceive). "Definition of Concept in English:." Concept. Oxford Dictionnaries. Web. 7 Dec. 2015. <>.


1 archaic : begin, commence, undertake 2 [influenced in meaning by Latin capere to take] : to take in: such as "Dictionary - Incept." Merriam-Webster. Merriam-Webster. Web. 7 Dec. 2015. <>.


1.have objective reality or being. "remains of these baths still exist on the south side of the Pantheon" 2. live, especially under adverse conditions. "Google Search: Definition 'Exist'" Google. Google. Web. 7 Dec. 2015. < definition>.