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My practice considers systems of control in their real and psychological presence. Working with cold war imagery focuses my concern with the larger consequences of human violence. Coverings, both as disguise and protection of the body, are drawn in various ways and combined with small scale objects that I make or find.
My curiosity about what lies beneath the surface branches into new visual explorations. Thinking about natural networks, such as mycelia and rhizomes, leads to an understanding of natural structures and the symbiotic relationship between humans and the rest of the earth. This investigation has grown from my long-time interest in how humans organize themselves.
Gail Bourgeois is a founding member of Powerhouse Gallery (La Centrale, Montréal). Invited to engage with the Firestone Collection of Canadian Art, she presented a research based solo exhibition at the Ottawa Art Gallery (catalogue essay, Rebecca Basciano, 2016). In 2013-2014, she was invited to be the inaugural artist-in-residence at the Diefenbunker: Canada’s Cold War Museum, where she prepared her exhibition To Warn Other Canadians (catalogue essay, Marcia Lea, 2014). Previous solo exhibitions include: Incidental things, Research-in-Art Project Room (catalogue essay, Petra Halkes, 2011) and Particle Factor, IPO Gallery (publication essay, Natasha Mazurka, 2008). In 2016, new works were presented in a two-person exhibition titled Stories Nearby at the Karsh-Masson Gallery (publication essay, Nancy Baele, 2016). In 2018, she presented Accommodating the details in a solo exhibition, Byward Market Gallery, Ottawa School of Art (catalogue essay, Sheena Gourlay, forthcoming) and Morse Code Project with Pira Pirani, Shenkman Arts Centre, Ottawa. Gail Bourgeois holds an MFA from Concordia University (Montréal, Québec) and has been shown professionally since 1985.