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Jessica Arseneau





The image has a poetic power.


It maintains a visual force which, to use the words of Bachelard, "opens up a future of language". It is activated by the anatomy of which it is constituted. Still image, moving image, sequential image, referential image, research image, parasitic image, subversive image, reproduced image, interrupted image. The power of image poetry is defined by its ability to override the dominant visual regime, today closely related to temporal structures. Images subordinate to these structures that respond to the subjugation of flickering luminosity, rhythmic sequencing, synchronicity and acceleration. Proliferation of non-times. Non-times that substitute the spaces left for daydreaming and heterogeneous times, leaving no interstices for the mind that drifts towards its confabulations of pure inconsistencies. The poetics of the image takes up the uncontrollable reverie. It inflicts caesura. Caesura. Making it indeterminate. The image is standstill or suspension, which becomes a counter-sequence. A counter-temporality, perhaps, where there is rupture, a non-continuity within the continuum. An interrupted temporal order.



Working mainly with moving image, still image and performance, Jessica Arseneau works with a range of subjects such as cultural imaginary, sleep and insomnia. She tackles the decisive factors external to the human body that affect the sensitivity of the human psyche, both on an individual and collective scale. It leads her to create images that suggest a state between consciousness and unconsciousness.

Born in Bathurst and raised in Tracadie-Sheila, she holds a BA of Fine Arts at Université de Moncton in 2011 and a Master in Media Arts (German Media Art Diploma) with distinction at the Academy of Fine Arts Leipzig in 2020. She obtained the Sheila Hugh Mackay Advanced Studies Scholarship in 2017 for her studies in Leipzig. In the same year, she was awarded a grant to participate at the International Summer Academy of Fine Arts in Salzburg.

 Solo exhibitions include Lost Idyll at Galerie d’art Louise-and-Reuben-Cohen (Moncton, 2016), schmaler grat in collaboration with Mandy Gehrt at Interim (Leipzig, 2017) and The Screen Under My Eyelids in Helmut (Leipzig, 2020). Other public presentations of her work occurred at Galerie Sans Nom (Moncton), Struts Gallery (Sackville), Darling Foundry (Montreal), Maison de la Culture du Plateau-Mont-Royal with GIV (Montreal), BronxArtSpace (New York), Agora Collective (Berlin), Traverse Vidéo (Toulouse) and Friche la Belle de Mai (Marseille).