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Art arouses inspiration, captures our imagination, and has the ability to ease our stress. It also has the power to shape our consciousness by energizing our spirit, stimulating our thinking while creating bonds between strangers, enabling children to ask questions and prompting curiosity and awareness of our environment.
My work is whimsical, witty and playful. It brings around joy to your heart, happiness to your soul and a constructive twist to life, while keeping an aesthetic ambiance to its surroundings.
Marc A. J. Fortier
Born April 19th, 1961 in Montreal, Quebec, Canada.
Self taught, he has been sculpting, painting and printing artworks as a professional artist for more than 34 years. He is ambitious, methodical, disciplined and he enjoys working with proven lasting materials. He possesses experience in large-scale public art creations; over the years, he has created some of the most important monumental bronze sculptures in and around Montreal, Quebec, Canada.
Notes, from Marie-Aandrée Brière, B. ès arts- M.A. muséologie – Ph. D. muséologie, education, about MAJ Fortier recent works;
STAGING EVERYDAY LIFE FROM REALISM TO SOCIAL SATIRE
Faced with chaos, over-consumption and uncertainty within modern society, Marc A. J. Fortier questions the actors that we are with irony and occasional sarcasm. For him, all the elements of our world, be they living or inanimate, are animated by the same life and are confronted in an
apparently irrational order: faces are human and robotic at the same time while objects are as much inanimate as they are animated. The Art of Marc A. J. Fortier takes place in the realm of reality and the mundane by affirming the durability and permanency of human attitudes: snobbery and elitism, envy and pride, boredom, untruthfulness and solitude. Our Social and intellectual structure operates as though there were no place for such a statement. This statement was, however, the reason behind my initial attraction to Fortier’s work. Not because he rattles or confronts our modern realities by instilling the fear of regression to earlier states or different states, to say the least; rather, he trains our eyes onto these realities. His iconography, combined to a craft resting solely on knowledge and an exacting mastery of pictorial and sculptural techniques, seems to ignore the impact of the formal concepts which are the foundations of modern art, thus rendering this work even more suspicious.