Sarah Gobeil.jpg

Sarah Gobeil

Having always loved science fiction films, special effects and above all the makeup. After transforming my surroundings with my brushes and my make-up. I felt the need to create new works this time in two dimensions. Wishing to temporarily transform the external image of my subjects into applying to them, this time through photography and image processing, quite another quality, I finally succeeded in achieving the finish so much sought after in drawing and painting.

 

“I wasn't looking for anything, things were looking for me, I felt like it, they were calling me really.” ~ Walker Evans

 

This phrase from Walker Evans, a famous American photographer of the 1930s, describes exactly my artistic experience. When I go looking for new material to merge into scrapbooking lessons, I I walk around with a camera in hand and a sharp eye. For me it's like a treasure hunt. I scan gutted cars, broken headlights and multicolored wiring if I have the chance, I have the wild flowers and the dog tooth mingling and tangling in it in this case it is instant jubilation. Next step, wait for the moment when my breath will stay in suspense is the sign that this piece will serve me, because it is emotionally charged and ready to be reused. A great way to recycle!!!

A square face, eyes slightly close together and downwards for me it fits perfectly to the broken headlight of this Subaru. Surreal for many and yet so obvious to me. I am constantly looking for absolute precision. Attention to detail. None vagueness in my essential is allowed. This new series pushed me to get out of the studio and frequent scrapyards and funds of garage courses. The tangles of electrical wires and connectors in any genre have always caught my attention, now they inspire me.

 

My main goal is to increase the degree of force and the reaction time of the observer in front of my photographic assembly without surprising him. Destabilize him without making him fear. The observer alone determines the speed and depth at which he wishes to introduce, understand or become impregnated with the creature that I propose to him.

 

Addressing the work in this way the observer will come to understand these original photos and to separate planes. Without however finding himself in front of the portrait of the model he will succeed still to distinguish these unique traits that were used to create this new avatar. The large format of the works also plays a role. The larger the face, the greater the impact is frank. Insofar as we are not accustomed to meeting giants.

 

I am not one of those who choose the shortest path or even the most realistic. One could call me a weather vane. I feel like I grew up with photography thanks to my eclectic background. From plastic arts to art history and makeup artistry, I've always had a need for photography to reassure me. My last training at Collège Marsan in 2009 which made me switch in the world of image processing software, a real revelation for me. I could use my photographer's eye in the field and again in front of the computer, WOW!

 

My work then became more and more personal. First in black and white, that I was already measuring thanks to silver photography. My photographs were sweet, calm and full of poetry. When I switched to colors and at the same time to digital contrasts and texture proved to be omnipresent and the angles were sharpened. Some say that my works have become more distressing. For my part I would say they have become genuine.

 

I attended a large number of painting symposiums before daring to exhibit as photographer. What I like in photography, that I had never felt in painting is the feeling of completion. I know when it's over, it's one striking evidence. Zero retouching, no worries and always exactly what I was looking for to clear.

 

Since 2010, small and large exhibitions, chosen or strongly suggested one after the other. I love presenting and explaining my work to people. The human passions me, seeing, hearing and feeling their reaction fuels me.

 

To conclude, I would say that photography chose me in October 1994 during a full fire drill at Cégep de Rimouski. I should have come out of the darkroom upon hearing the fire alarm but something more important was being produced at the same time...