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Mountain Peaks
In my works, I explore the theme of contrast and interaction between humanity and nature, using abstract mountain landscapes as the central motif. To me, mountains symbolize monumentality and immobility, representing a force that transcends human life. These majestic structures can easily claim the life of an unwary or careless traveler, emphasizing the insignificance of human existence in the face of nature's power.
However, wherever humans reach—whether by foot, drone, or the click of a camera shutter—human progress eventually follows. We carve out tourist trails, leaving behind waste, build houses with modern utilities, construct roads, and discover and exploit valuable resources. From this perspective, the destruction of mountain nature seems inevitable.
So, in the end, which is stronger: human influence or nature's resilience?
In my work, I use acrylics and bright, sometimes unnatural colors. These colors symbolize an imaginary world where mountains can remain untouched and indestructible. Only in this imagined realm does nature preserve its pristine beauty and strength, free from interference. Through my creations, the viewer can briefly glimpse this world but never destroy it.
After all, only in our imagination can we create a world where harmony endures forever.
Guy Boulianne est une figure multidisciplinaire au Québec, connu principalement comme écrivain, poète, éditeur et chroniqueur indépendant. Né en 1962, il a débuté sa carrière artistique en 1983 avec la publication de son premier recueil de poésie intitulé “Avant-propos d’un prince fou”, suivi en 1987 par “La bataille des saints”. Il a été nommé au conseil d’administration du Regroupement des Auteurs-Éditeurs Autonomes (RAEA) en 1983.
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Influences naturelles
My artistic practice consciously moves in an area of undecidability, inhabiting that liminal space where photography, drawing, painting and writing converge in an uninterrupted dialogue. I do not consider this hybrid approach as a simple sum of techniques, but as the affirmation of a poetics that recognizes its generative core in the tension between different languages. Although my works present manual interventions, geometric signs and material stratifications, I consider them fundamentally post-photographs as they maintain a profound connection with the indexical nature of the photographic medium. This media ambiguity is not indecision, but an active semantic strategy.
I am particularly interested in what Jacques Rancière defines as a thoughtful image, an entity that does not simply illustrate a pre-existing thought, but constitutes a magnetic field charged with unresolved tensions, resistant to univocal meanings. The work thus becomes a space of perpetual oscillation between apparently opposite polarities: technological automatism and manual gesture, documentation and creation, material presence and conceptual abstraction.
My creative process reflects this threshold condition: photographic elements are deconstructed and recontextualized, but never completely denied; pictorial interventions assert their materiality without erasing the underlying photographic trace; geometric signs impose a visual order that dialogues with the organic complexity of the captured image; words insinuate themselves between the visual layers, not to explain them but to amplify their ambiguity.
This hybrid practice mirrors our contemporary reality, culturally and technologically fragmented, where images, texts and data constantly mix. I am not interested in resolving this ambiguity, but in consciously inhabiting it in a contemporary landscape, where distinctions between artistic disciplines become increasingly porous.
SPIRIT Series photo exhibition by Yevgeniy Repiashenko