NANOU DUPUIS CV   

 

EDUCATION

 

2009-2011        RMIT University, Master of Art - Art in Public Space, Australia

 

2010                  CUVVSP18B & 19B Certificate - Apply techniques to produce video art - (Certificate III in Arts Administration)

 

2002-2004        Academy of Fine Arts, Graduate Diploma in Fine Arts – Painting and History of Art, Belgium

 

1992-1993        ST Luc University, Graduate Diploma in Visual Arts and Interior Design, Liege, Belgium

 

1989-1992        Academy of Fine Arts, Bachelor in Fine Arts, Belgium

 

1988-1989        IATA, Screen printing – Graphic Design, Photography, Namur, Belgium

 

GRANTS & AWARDS

 

2017-15             Bayside Award finalist, Brighton, Melbourne, Australia

2017                   St Kevin Award finalist, Toorak, Melbourne, Australia

2016-15             M Collection Award finalist, Gallerysmith, North Melbourne, Australia

2015                   43rd Muswellbrook Award finalist, NSW, Australia

2013-14             Australian Council for the Arts, ArtStart Grant, Australia

2013                   Lethbridge Gallery, Small-Scale Award finalist, Sydney, Australia      

2012                   Incinerator Gallery, Artecycle Prize shortlisted exhibition, Australia

2011                   TOK H Award, Toorak Sculpture Show, Melbourne, Australia

2011                   RMIT Common Thread Award, RMIT, Melbourne, Australia

1998 to 2004     Academy of Fine Arts First prize in Painting, Drawing and Graphic design, Belgium

  

SELECTED SOLO EXHIBITIONS

 

2017                   Access Gallery, Bayside Townhall, Melbourne, Australia

2017                   Black Cat Gallery, Collingwood, Melbourne, Australia

2017-16-18       Alternating Art Space, Windsor, Melbourne, Australia 

2016                   Gallerysmith Project space, North Melbourne, Australia

2016                   Rubicon Ari, North Melbourne, Melbourne, Australia

2015                   Seventh Gallery, Fitzroy Melbourne, Australia

2014                   Flinders Lane Gallery, The Space, Melbourne, Australia

2013                   Shading the light, Nes residency, Iceland

2012                  Judith Kruger Studio, Nihonga Abstract, Savannah, U.S.A

 

SELECTED GROUP EXHIBITION & PUBLIC ART INSTALLATIONS

 

2018                 Red Gallery, Fitzroy, Melbourne, Australia

2018                 This Wild song project, Gallerysmith, North Melbourne, Australia

2017-18           Dirty Dozen, curated by Jake Treacy, Melbourne, Australia

2017-18           Westend Artspace, West Melbourne, Australia

2017                 Project 17, Anna Pappas Gallery, Melbourne Australia

2016                 Clockwise, Street Art exhibition, STK Gallery, St Kilda, Melbourne, Australia

2016                 Alternating Current Art Space, Windsor, Melbourne, Australia

2016                 C3 Gallery, curated by Jake Treacy Abbotsford, Melbourne

2013                 Nes Studio, Opio Hus, Public Art Installation, Iceland

2011                 Xiangyang University Gallery, Shanxi, China

2011                 RMIT First Site Gallery, Public Art Take Away, Melbourne, Australia

2011                 Toorak Sculpture Show, Diverting figures, Melbourne, Australia

2011                 Fisher Jeffries Gallery, Adelaide, SA, Australia

2011                 Adelaide Fringe, Public Art Station, SA, Australia

2010                 Winter Art Project and Public Art installation, Dandenong City Council, Australia

2008                 Art Melbourne, OFF THE WALL, Exhibition Building, Melbourne, Australia

2006                 Magill Art Gallery, Northwood, Adelaide, SA, Australia

2002                 Granary Wharf Gallery, Leeds, U.K

2001                 Rive Gauche Gallery, Belgium

2001                 ART FOR YOU Gallery, Belgium

 

 

RESIDENCIES & PERSONAL DEVELOPMENTS

 

2016 to present Curator and Board member at Alternating Current Art Space

2016                Ink and Block Printing workshop, Rajasthan, India

2001                16th century Church restoration, Royal Belgium Family Estate

2014                Ayers Rock Dot painting, NT, Australia

2013                Nes Artist Residency, Public Art Skagastrond, Iceland

2012                Judith Kruger Studio, Nihonga Japanese painting intensive workshop assistant, U.S.A

2011                Xiang Yang University, Abstract mentor at the Painting Department, China

2002                Leeds College of Art &Design, Life drawing, U.K

 

COLLECTIONS

 

Private and corporate collections throughout Europe, Asia, Iceland, U.S.A, Canada, Quebec, South America, and Australia

 

Link to interviews & essay

Interview with ART KOLLECTIV :
http://www.artkollectiv.com.au/editorial/meet-the-artist/nanou-dupuis

Interview for 'This Wild Song Project', Portraits of Australian female artists by Ilona B Nelson coming soon.
https://thiswildsong.com.au/artists/
 
Essay by Jake Treacy, curator of 'Oracular Vernacular @ C3 available below my CV
 
Art Collector:
http://www.artcollector.net.au/AnneDupuisNanouGeographicEmotion
http://www.artcollector.net.au/NanouDupuisthePhysicalityofMovement
 
Video from SBS showing my large installation made of Newspaper for the 2012 Artecyle Art prize:
https://youtu.be/_dcxaHJFf7Q
 
Project 17 Radical Immanence group show, Anna Pappas Gallery in Melbourne
http://www.annapappasgallery.com/exhibitions-calendar/2016/12/27/project-17-radical-immanence

 

Essay By Jake Treacy, curator of 'ORECULAR VERNACULAR' @ C3 Gallery, February 2016

 

Eddying currents of colour; poured and whirling paint; visceral energy organised upon translucency; a dance, a gesture; the flow, the moment, the synergy between what is imagined and what manifests – this is the artist’s oracular gesture.

 

Nanou Dupuis’ practice is all about flux. ‘The image is not fixed,’ she says of her work presented here in Oracular Vernacular, “and the enigmatic aspect of unfixed things is how I interpret the idea of mystic. It is an understanding of all things, the feel, the movement of air, the undefinable things that you have to be fluid about.”[1] And certainly to stand within Progressive resilience is to swim about in its gestural waves and breathed airiness; it is to be subsumed by the energy Dupuis pours into the making of her work. The sweeping of colour upon a transparent PVC surface is informed by her study and training of Eastern calligraphic techniques, where breathing and movement are imperative. Within her studio, the artist mixes her own minerals with the medium, sourced from her native Belgium. She then hovers above her the PVC sheet, and having dipped her brushes into the hand-mixed minerals and media, commences what can only be described as ceremonial. With one singular gesture she begins to paint, and whether the brush finds contact with the surface or not, it remains the same single brush-stroke that the work emerges from. It becomes a meditative and performative ritual where certain knowledge of materials are channeled into a moment. In Japanese calligraphy Hitsuzendō ("art of the brush") is a method of achieving samādhi, which is unification with the highest reality.

For any particular piece of paper, the calligrapher has but one chance to create with the brush. The brush strokes cannot be corrected, and even a lack of confidence shows up in the work. The calligrapher must concentrate and be fluid in execution. The brush writes a statement about the calligrapher at a moment in time. Through Zen, Japanese calligraphy absorbed a distinct Japanese aesthetic often symbolised by the ensō or circle of enlightenment. The calligrapher must breathe with the vitality of eternal experience. [2]

 

True creativity is not the product of consciousness but rather the "phenomenon of life itself." True creation must arise from mu-shin the state of "no-mind," in which thought, emotions, and expectations do not matter. Truly skillful Zen calligraphy is not the product of intense "practice;" rather, it is best achieved as the product of the "no-mind" state, a high level of spirituality and a heart free of disturbances.

 

 

Dupuis responds to the existing architecture of the c3 Contemporary space. She is intuitive in approaching the physicality of space, responding to its nuances of proportion and substance as much as she does its history and unheard narrative. In fact, upon a recent visitation to the gallery, just before the opening of Oracular Vernacular, the artist explained to the curator her apparent psychical vibrations she received from this rich, laden space – a sort of mediumship of the site. It soon emerged that the artist felt energy seeping from cracks in the walls, through the ventilation grills, upon the abandoned spider webs and gathering dust. Ventilation shafts, pipes and electrical conduits and hence playfully activated as pathways of movement by the gestural brushstrokes evinced in her work. Mimicry and memory of the space are conjured forth, coxed from the wall, floor and ceiling in a triple corner, as Dupuis’ installation activates these planes via manipulated materiality and fluidity of vision. This becomes a space of vaporous and liquid flux from which one may extract strange and dreamlike imagery – here a horses head, there a birds wing, and then again some strangers face. Like the phenomenon of perceiving images in clouds or the psychological visualisation within inkblot tests, the mind may extract archetypes from the ether of this work. The Surrealists employed such a methodology in much of their practices that sought to confront the phantom object, an image of ambiguous meaning, but when viewed the mind evokes phantom images which are the result of unconscious acts – a sort of delirious phenomena.[3] Furthermore, the phrase pareidolia ­­denotes the cognitive processes involving a stimulus, such as an image or a sound, wherein the mind distinguishes a familiar pattern of something where in fact one actually does not exist. In his notebooks, Leonardo da Vinci wrote of pareidolia as a device for painters, writing "if you look at any walls spotted with various stains or with a mixture of different kinds of stones, if you are about to invent some scene you will be able to see in it a resemblance to various different landscapes adorned with mountains, rivers, rocks, trees, plains, wide valleys, and various groups of hills. You will also be able to see divers combats and figures in quick movement, and strange expressions of faces, and outlandish costumes, and an infinite number of things which you can then reduce into separate and well conceived forms."[4] It is suggested that ghosts are an artifact of pareidolia, and perhaps this is what the artist sense upon her site visit with the curator…so we shall wait and see if any step forth from the eddying portal of Progressive resilience.

[1] Upon meeting at her Prahran studio in early November 2015, the artist and the curator discussed at length (over cakes and coffee and cigarettes) the incredible techniques and energies that are harnessed in the making of her work. One question in particular, which caused great discourse, was asked to each other, “what does mystic mean to you?”

[2] en.wikipedia.org/wiki/Hitsuzendo

[3] André Breton (by way of Guy Mangeot) hailed the method of the paranoiac-critical method, saying that Dalí's paranoiac-critical method was an "instrument of primary importance" and that it "has immediately shown itself capable of being applied equally to painting, poetry, the cinema, the construction of typical Surrealist objects, fashion, sculpture, the history of art, and even, if necessary, all manner of exegesis."

 

[4] Da Vinci, Leonardo (1923). John, R; Don Read, J, eds. "Note-Books Arranged And Rendered Into English". Empire State Book Co.

 

 

 

 

 

 

 

 

 

  • Facebook Clean
  • Twitter Clean