Automatism for the people

Marcelle Ferron's abstract work stands the test of time

by EVE MACLAUREN

Spring is in the air and you're going to fall in love with painting all over again. The Marcelle Ferron retrospective opens tomorrow (Friday, June 2) at the Musée d'art contemporain de Montréal. Ferron is a rare bird: a woman abstract painter whose career started in the macho post-war art world, who actually gets credit and recognition for her work.

The power of Ferron's art was clearly visible last Sunday as I watched the public react to it during the museum's open house. I never thought such universal enjoyment and thoughtful contemplation of abstract art was possible in Canada.

Une femme de chez nous, Ferron was a cosignatory of the Refus global manifesto in 1948, which was a reaction against the staunch Catholicism and old-guard attitudes of the Duplessis era. Since then, during different periods of artistic exploration, the spirit of her work has stayed true to its Automatist roots.

The exhibition starts with Ferron's darker compositions of the '40s; often the weave of the canvas is visible through thin washes of oil paint. In the Paris period ('53 to '65), the scale of Ferron's work increases and her palette knife grows to the size of a trowel. The colours lighten and the volume of paint becomes irresistibly seductive.

Then follows a seven-year stretch of working exclusively in stained glass. A few examples of the stained-glass work from '66 to '73 are shown before we return to her later paintings, which have an oriental influence. Gesture is an important component of the work throughout her career, and often in these later works it moves to the forefront.

Ferron has always been a proponent of making art for the masses. Is that half a Hab's logo in the untitled stained glass from 1966? Or do I just have all the tributes to the Rocket rattling around in my head? Go decide for yourself and enjoy. But before leaving, check out the exhibition Key works and recent acquisitions, where you will find the work of Ferron's contemporaries and descendants in Quebec abstraction.

Speaking of Quebec saints...

For a different artistic outing, go to the Marguerite Bourgeoys museum, which is a far cry from the plain white rooms where we traditionally view museum collections.

Your visit will take you inside the adjoined Notre-Dame-de-Bon-Secours Chapel, up to the tower overlooking the St. Lawrence river and down to the crypts. Don't leave without seeing the true likeness of Ste. Marguerite Bourgeoys, painted by Pierre LeBer on January 12, 1700, or the life of Marguerite Bourgeoys recreated using dolls that would make the most contemporary of installation artists jealous. :

Marcelle Ferron at the Musée d'art contemporain, 185 Ste-Catherine W., June 2-Sept.10. Ferron is also showing at Musée de la Ville de Lachine, 110 de LaSalle in Lachine, until October 15. Also, at the Champs-de-Mars metro station, Ferron's stained-glass window is always on view Marguerite Bourgeoys museum, 400 St-Paul E.

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