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Rebecca Ramsey_At the bottom of the sink there is a black hole_2024_credit : Éliane Excoffier

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Inspired by ceramic forms that facilitate everyday hygienic rituals, this installation from Rebecca Ramsey brings together a series of ceramic based sculptures that reflect on the interiority of both bodies and buildings. Here, the house (technological) and body (biological) becomes metaphors for one another. Intimately intertwined, they reveal things about each other, and act as models for understanding larger cycles of transformation and circulation in the natural world. Historically, ceramics have been used across cultures for plumbing, sinks, tubs, toilets and other sanitary objects that act as intermediaries between the waste disposal of bodies and buildings. 
  
Mostly absent, the body is implied through organic forms and reference to fixtures that imply private routines of care. The circulatory system of the house becomes an intimate extension of the dweller inside. Mirroring architectural and bodily functions, the pipe acts as a line in the space connecting discrete sculptures while referencing the hidden systems that link the gallery to the infrastructure of the city.  
  
The presented ceramic sculptures are hollow, with multiple openings that facilitate or deny containment. Both generous and defiant, these objects reflect the paradox of being separate from, but also contained by, the world. In both houses and bodies, plumbing is hidden the workhorse that facilitates movement, the pulse of a building/body which fights stagnation.  
  
This exhibition is made possible with the support of the Canada Council for the Arts through the program *Concept to realization*.


About

Interview with Rebecca Ramsey

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Saturday's creative workshop

Pulp painting 

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Clay modelling

Workshops

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Documents

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Rebecca Ramsey

Opening reception November 2, 2024 - 2 p.m.

At the bottom of the sink there is a black hole

Centred around self-representation and questions of identity, the exhibition creates a dialogue between the work of [Damien Ajavon](https://damienajavon.com/) (Oslo, Norway) and [Mikaël Lepage](https://www.mikaellepage.com/) (Drummondville, Quebec). Damien Ajavon is a queer, non-binary artist of African descent who explores their heritage and culture through textile art and photography. Born in Drummondville, Mikaël Lepage addresses his experience as a young gay man raised in the region through oil self-portraits.  
  
Their experiences meet in the exploration of queer identity in a heteronormative society. The artists’ works deconstruct norms traditionally associated with the female and male genders—particularly through their use of clothing—moving away from archetypal representations of gender that have long dominated the history of representation. Their bodies of work explore plural, fluid, and complex identities whose juxtaposition supports an exploration of both self and other.  
  
Emerging from a long conception and production process, the presented works invite viewers to access a less frantic sense of time. Textile art and oil painting evoke the slowness and solitude of creating in the studio. Through their chosen mediums, Ajavon and Lepage encourage visitors to take time to contemplate, question, and reflect.


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3:30 p.m.

Discussion Entrelacements: rencontres du regard

 Event

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Acrylic painting on canvas

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Drawing and embroidery on paper

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Damien Ajavon & Mikaël Lepage

Opening reception January 11, 2025 - 2 p.m.

Entrelacements : rencontres du regard

Curator: [Pascale Beaudet](https://www.pascalebeaudet.ca/)  
  
As author and psychoanalyst Daniel Sibony writes, an artwork is an “object-time” in that it solidifies and contains time, refers to existing moments and produces new ones, i.e., “more-time.” This proposition applies particularly well to the work of [Louis-Charles Dionne](https://www.louischarlesdionne.com/), who intensifies the idea by “solidifying” everyday objects.  
  
Time cards, government forms, folders, playing cards, a snowbank: the physical manifestation of these objects is reworked in stone or bronze, materials that evoke the history of sculpture and memorials. Symbolizing long periods of time, these materials also embody aspects opposed by modernism. Amorphous and “ignoble” (as relative to “noble”) materials have become emblematic of twentieth century works.  
  
The reversal of perspective that Dionne proposes in the exhibition is not a return to the old order. Using everyday objects, he offers a reading of contemporary life based on time and the bureaucratization of artistic practice. The icons accumulating on a computer screen of folders full of grant applications and calls for work are solidified in marble and composite stone. The snowbank, a symbol of transience, finds its longevity in bronze. Marble and bronze come into a contemporary art centre to assert the endurance of the impermanent.


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6:30 p.m.

Discussion Louis-Charles Dionne

Event

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Engraving

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3D modelling on a digital tablet

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Louis-Charles Dionne

Opening reception March 15, 2025 - 2 p.m.

Le temps solidifié

Since 2007, DRAC has annually exhibited the work of Cégep de Drummondville’s visual arts graduates. Presenting works made in a wide variety of mediums, the group exhibition assembles unique art practices that reflect the concerns of artists who are in the early stages of their professional careers.  
  
This exhibition is an opportunity to showcase the work of the region’s emerging visual artists and to offer a first exhibition experience in an institutional context.

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2025 graduates from Cégep de Drummondville

*du seuil à la cime* is representative of [Jacynthe Carrier](https://jacynthecarrier.com/en)’s research, which merges the living and the image in performative scenes that perceive the collective body as a means of connecting to and reflecting on our different ways of relating to others and to the environment. This multidisciplinary video, sound, and photography installation poetically observes the seasonal transformations of a specific site, a small vacant hill near a highway. In the course of frequent visits from spring to winter, the site is gradually revealed as the day breaks at dawn. During the time Carrier spends with others on the mound, she activates various collective performances that survey, highlight, and physically enter into dialogue with the elements forming the rich ecosystem of this abundant site, presiding between the concrete and the cars.  
  
Taking an attentive approach, this enveloping and sensorial installation focuses on the gestures of waking up and the various presences of those who inhabit and visit the hill and its surroundings. The resulting work is situated in the tension between the site’s actual hostility and other possible stories about a small terrain that is both abandoned and sovereign.


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Jacynthe Carrier

du seuil à la cime

Please note that DRAC will be exceptionally closed this Thursday, November 21, 2024 from 5 p.m. Our doors will re-open the following day, Friday November 22, 2024, at 11 a.m., according to our usual schedule.  
  
Thank you for your understanding.  
  
The DRAC team

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At the bottom of the sink there is a black hole

Upcoming Exhibitions

Entrelacements : rencontres du regard

Le temps solidifié

2025 graduates from Cégep de Drummondville

du seuil à la cime