{"id":21,"date":"2026-05-14T17:30:59","date_gmt":"2026-05-14T15:30:59","guid":{"rendered":"https:\/\/www.marieclauderobillard.com\/?page_id=21"},"modified":"2026-07-28T20:57:29","modified_gmt":"2026-07-28T18:57:29","slug":"a-propos","status":"publish","type":"page","link":"https:\/\/www.marieclauderobillard.com\/en\/a-propos\/","title":{"rendered":"About"},"content":{"rendered":"
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Biography<\/h2>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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Marie-Claude Robillard is native of Sainte-Anne-des-Monts and currently lives and works in Montreal. She obtained a Bachelor\u2019s degree in visual and media arts, and a degree in fine arts from UQ\u00c0M. Since 2011, her works have been presented in solo exhibitions in various exhibition centers and galleries, including the Galerie \u00c9ric Devlin and the Maison de la culture Marcel-Robidas and le Centre national d\u2019exposition. She has participated in several group exhibitions, notably during the Gallery Weekend Montreal events and at the Voix-Visuelle artist-run center in Ottawa. Her works have also been displayed at the Mus\u00e9e d\u2019art contemporain des Laurentides as well as the Montreal Contemporary Art Fair. They are also part of numerous private and corporate collections.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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I try to reveal the inaudible by silencing all the codes of language<\/h2>\nMarie-Claude Robillard<\/cite><\/blockquote>\n<\/div>\n<\/div>\n\n\n\n
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Artist statement<\/h2>\n<\/div>\n\n\n\n
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I create paintings on wood and monotypes on paper by working with encaustic paint, an ancestral process that uses beeswax. This medium allows me to make a palimpsest by multiplying the layers of wax and text. I try to reveal the inaudible by silencing all the codes of language; by blurring the signs, in order to transform the written markings into an artwork, in the memory of the invisible.<\/p>\n\n\n\n

Different branches in the humanities have studied silence; philosophy, psychology, sociology and psychoanalysis have all analysed, segmented and qualified it. Over the span of several decades, these researchers and theorists have proven that silence is plural. The consideration of this plurality is at the core of my artistic practice. Among other things, silence can be gentleness, calmness, pondering, interiority, daydreaming. Conversely its expression is rather brutal; it is tension, malaise, rupture, threat, abandonment, death. It sets the rhythm, creating a space that makes language and writing understandable. I explore the complexity of silence and not its idealization, which represents a fantasy free from noise and disturbance.<\/p>\n\n\n\n

In my artistic practice, I use writing as a vector since it is an act of silence and it remains silent as long as it is not read or transmitted. In order to make the different types of silence visible, I use several strategies of disintegrating and burying the language. Thus, I make use of destruction, self-effacement, white writing, the reappearance of erased signs, rewriting, deletions, superposition, I omit punctuation and sometimes even the spaces between words, probing in this way the overflow, the unintelligible which becomes empty in the same way as an overabundance of words which is lost and transformed into the inaudible. I execute the illegible in order to create a new space using references that we know, but which become unavailable as an idea of non-communicability. Although the text is thoughtful and sensible, it is sublimated by this process. This refusal to let my thoughts and questions be accessible is also an opposition to take part in this abusive self-disclosure that has become possible on various social media. This white writing, freed from all servitude to language, makes room for interiority.<\/p>\n\n\n\n

During the creation of a work, a long and tedious ritual is established, a kind of ode to slowness. As the layers and withdrawals multiply, a scrambling is created, referring to the movement of thought that is continuously broken and simultaneously modified. I thus investigate the thought process and the complexity of consciousness. I inscribe with encaustic to slow down the flow of ideas, leaving a trace of this process, of what once was but is no longer.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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\"Marie-Claude<\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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CV<\/h2>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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Education<\/h3>\n\n\n\n
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2011 <\/p>\n\n\n\n

Bachelor\u2019s degree in Visual arts, Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al<\/p>\n<\/div>\n\n\n\n

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2007<\/p>\n\n\n\n

Certificate in fine arts, Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Solo exhibitions (selected)<\/h3>\n\n\n\n
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2027 <\/p>\n\n\n\n

Paradoxes<\/em>, Galerie Karsh-Masson, Ottawa, Ontario<\/p>\n<\/div>\n\n\n\n

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2026 <\/p>\n\n\n\n

Title to be announced<\/em>, Arprim, Montr\u00e9al, Qu\u00e9bec<\/p>\n<\/div>\n\n\n\n

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2025 <\/p>\n\n\n\n

Polyphonie du silence<\/em>, Centre national d\u2019exposition, Jonqui\u00e8re, Qu\u00e9bec<\/p>\n<\/div>\n\n\n\n

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2024 <\/p>\n\n\n\n

Tant que je pourrai noircir<\/em>, Maison de la culture Marcel-Robidas, Longueuil, Qu\u00e9bec<\/p>\n<\/div>\n\n\n\n

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2023 <\/p>\n\n\n\n

Tant que je pourrai noircir<\/em>, Maison des arts et de la culture de Brompton, Sherbrooke, Qu\u00e9bec<\/p>\n<\/div>\n\n\n\n

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2019-2020 <\/p>\n\n\n\n

Bruissement<\/em>, Centre Elgar, R\u00e9seau acc\u00e8s culture Montr\u00e9al, Montr\u00e9al, Qu\u00e9bec<\/p>\n<\/div>\n\n\n\n

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2019 <\/p>\n\n\n\n

Trac\u00e9s<\/em>, Galerie \u00c9ric Devlin, Montr\u00e9al, Qu\u00e9bec<\/p>\n<\/div>\n\n\n\n

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2016 <\/p>\n\n\n\n

Bruit Blanc<\/em>, Centre culturelle Pauline Julien, Trois-Rivi\u00e8res, Qu\u00e9bec<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Group exhibitions (selected)<\/h3>\n\n\n\n
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2023 <\/p>\n\n\n\n

Blanc\/nuage Blanc\/oubli<\/em>, Galerie Yves Louis-Seize, St-Gabriel, Qu\u00e9bec<\/p>\n<\/div>\n\n\n\n

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2022 <\/p>\n\n\n\n

Galeries Weekend Montr\u00e9al<\/em>, Galerie \u00c9ric Devlin, Montr\u00e9al, Qu\u00e9bec<\/p>\n<\/div>\n\n\n\n

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2021 <\/p>\n\n\n\n

Du livre objet \u00e0 l\u2019objet d\u2019art<\/em>, Le Livart, Montr\u00e9al, Qu\u00e9bec<\/p>\n<\/div>\n\n\n\n

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2016 <\/p>\n\n\n\n

Livres et autres mots d\u2019artistes<\/em>, Galerie \u00c9ric Devlin, Montr\u00e9al, Qu\u00e9bec<\/p>\n<\/div>\n\n\n\n

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2015 <\/p>\n\n\n\n

Entre-nous<\/em>, Centre d\u2019artiste Voix-visuelle, Ottawa, Ontario<\/p>\n<\/div>\n\n\n\n

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2011 <\/p>\n\n\n\n

Passage \u00e0 d\u00e9couvert<\/em>, Galerie de l\u2019UQ\u00c0M, Montr\u00e9al, Qu\u00e9bec<\/p>\n<\/div>\n\n\n\n

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2011 <\/p>\n\n\n\n

Prologue<\/em>, Galerie Onze, C\u00e9gep du Vieux-Montr\u00e9al, Montr\u00e9al, Qu\u00e9bec<\/p>\n<\/div>\n\n\n\n

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2009 <\/p>\n\n\n\n

Param\u00e8tres 2009<\/em>, Galerie de l\u2019UQ\u00c0M, Montr\u00e9al, Qu\u00e9bec<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Events<\/h3>\n\n\n\n
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2026<\/p>\n\n\n\n

Pour l\u2019art<\/em> fundraising exhibition, B-312 Gallery, Montreal, Quebec<\/p>\n<\/div>\n\n\n\n

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2025 <\/p>\n\n\n\n

Moi-m\u2019aime<\/em>, auction, Centre d\u2019apprentissage parall\u00e8le, Montreal, Quebec<\/p>\n<\/div>\n\n\n\n

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2024 <\/p>\n\n\n\n

Pour l\u2019art<\/em>, fundraising exhibition, B-312 Gallery, Montreal, Quebec<\/p>\n<\/div>\n\n\n\n

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2022<\/p>\n\n\n\n

Papier<\/em>, Contemporary Art Fair, Montreal, Quebec<\/p>\n<\/div>\n\n\n\n

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2022 <\/p>\n\n\n\n

Auction, Parle-moi d\u2019amour<\/em>, Les impatients, Montr\u00e9al, Qu\u00e9bec<\/p>\n<\/div>\n\n\n\n

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2021 <\/p>\n\n\n\n

Papier<\/em>, Contemporary Art Fair, Montreal, Quebec<\/p>\n<\/div>\n\n\n\n

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2020 <\/p>\n\n\n\n

Papier<\/em>, Contemporary Art Fair, Montreal, Quebec<\/p>\n<\/div>\n\n\n\n

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2019 <\/p>\n\n\n\n

Papier<\/em>, Contemporary Art Fair, Montreal, Quebec<\/p>\n<\/div>\n\n\n\n

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2017 <\/p>\n\n\n\n

Auction, Parle-moi d\u2019amour<\/em>, Les impatients, Montr\u00e9al, Qu\u00e9bec<\/p>\n<\/div>\n\n\n\n

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2016 <\/p>\n\n\n\n

Mus\u00e9e d\u2019art contemporain des Laurentides (MAC LAU), Auction, (catalog), St-J\u00e9r\u00f4me, Quebec<\/p>\n<\/div>\n\n\n<\/div>\n\n\n\n

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Grants<\/h3>\n\n\n\n
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2026 <\/p>\n\n\n\n

Development Grant, Conseil des arts et des lettres du Qu\u00e9bec<\/p>\n<\/div>\n\n\n\n

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2024 <\/p>\n\n\n\n

Development Grant, Conseil des arts et des lettres du Qu\u00e9bec<\/p>\n<\/div>\n\n\n\n

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2022 <\/p>\n\n\n\n

Development Grant, Conseil des arts et des lettres du Qu\u00e9bec<\/p>\n<\/div>\n\n\n\n

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2019 <\/p>\n\n\n\n

Development Grant, Conseil des arts et des lettres du Qu\u00e9bec<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Involvements in the art community<\/h3>\n\n\n\n
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2025- <\/p>\n\n\n\n

Magasin, selection committee, Arprim artists-run center<\/p>\n<\/div>\n\n\n\n

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2022- <\/p>\n\n\n\n

Member of Galerie B-312 artists-run center<\/p>\n<\/div>\n\n\n\n

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2022- <\/p>\n\n\n\n

Member of Arprim artists-run center<\/p>\n<\/div>\n\n\n\n

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2012- <\/p>\n\n\n\n

Member of RAAV<\/p>\n<\/div>\n\n\n\n

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2012-2013 <\/p>\n\n\n\n

Member of Articule artists-run center<\/p>\n<\/div>\n\n\n\n

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2012 <\/p>\n\n\n\n

Selection commitee for \u00ab Projet vitrine \u00bb at Articule artists-run center<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Collections<\/h3>\n\n\n\n
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City of Longueuil collection<\/p>\n\n\n\n

Caisse Populaire d\u2019Hochelaga-Maisonneuve<\/p>\n\n\n\n

L\u2019Artoth\u00e8que collection<\/p>\n\n\n\n

Private collections<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Marie-Claude Robillard_Resume<\/a>DOWNLOAD THE CV<\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
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Biographie Marie-Claude Robillard, native de Sainte-Anne-des-Monts, vit et travaille \u00e0 Montr\u00e9al. Bacheli\u00e8re en Arts visuels et m\u00e9diatiques, elle d\u00e9tient \u00e9galement un dipl\u00f4me en Arts plastiques de l\u2019UQ\u00c0M. Depuis 2011, ses \u0153uvres ont \u00e9t\u00e9 pr\u00e9sent\u00e9es lors d\u2019expositions solos dans divers centres d\u2019exposition, maisons de la culture et galeries, dont la Galerie \u00c9ric Devlin, la Maison de […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":{"mode_text_color":"is-dark-text","mobile_bg_x":0.5,"mobile_bg_y":0.5,"footnotes":""},"class_list":["post-21","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.marieclauderobillard.com\/en\/wp-json\/wp\/v2\/pages\/21","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.marieclauderobillard.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.marieclauderobillard.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.marieclauderobillard.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.marieclauderobillard.com\/en\/wp-json\/wp\/v2\/comments?post=21"}],"version-history":[{"count":38,"href":"https:\/\/www.marieclauderobillard.com\/en\/wp-json\/wp\/v2\/pages\/21\/revisions"}],"predecessor-version":[{"id":1644,"href":"https:\/\/www.marieclauderobillard.com\/en\/wp-json\/wp\/v2\/pages\/21\/revisions\/1644"}],"wp:attachment":[{"href":"https:\/\/www.marieclauderobillard.com\/en\/wp-json\/wp\/v2\/media?parent=21"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}