BIOGRAPHY


B. Vancouver, 1984
Brendan A. de Montigny is a multidisciplinary artist, cultural connector, and curator. He holds an MFA from uOttawa, a BFA from Concordia University, and a DEC from Heritage College. De Montigny has exhibited drawings, performances and Installations in Ottawa, Toronto, Montreal, and New York state, including Ottawa City Hall Art Gallery, Art Gallery of Ontario, and Todmorden Mills Museum. He co-founded and directed the Ottawa art gallery PDA Projects from 2014-2018. Forthcoming this November 2020, his latest body of research will be shown alongside Claire Scherzinger, Colin Canary, and Tyler Armstrong at Karsh-Mason Gallery in Ottawa.  He was a finalist for the 2019 RBC Emerging Artist Award.

Brendan A. de Montigny is the communications & marketing officer at Masterpiece Studio, a virtual reality app focused on artistic content creation.  He also consults in communication strategy and artist coaching and has worked with Artscape, DAÏMÔN, and is the current director of marketing for EN MASSE

Since 2011, he has lived in Hull, Gatineau, Quebec.

STATEMENT 


I use painting, drawing, performance, and installation to open up spaces for reconsideration of 20th century coded systems of art consumption. These systems are founded on codes of patriarchal and oppressive relations which are in turn grounded in presumptions of technological utopianism and power. My art begins inside my life, and growing up as a middle-class family in the suburbs. By beginning with a self-critical view of my life and it privileged forms I look to analyze the threshold between this visually mundane environment and the decay or ruin it might cause to our collective being. I use visual motifs found in diagrams for learning, such as automobile and airplane model car kits, the aesthetics of 70s pulp science fiction, punk-hardcore aesthetics, and the mid-century brutalist architecture. I layer these references upon each other through detailed mark-making. I repeat patterns to mimic the stultification or paralysis through the constant and seemingly ceaseless replication of assembly-line technologies of production and consumption.