Madeleine Lamont was born in Winnipeg, Manitoba and currently resides in Toronto, Canada.
Madeleine Lamont received her BFA Degree from York University, Toronto, Canada in 1990. and Commercial Art and Design diploma from Algonquin College, Ottawa, Canada.
She has exhibited her work in museums and galleries both Nationally and Internationally and has been the recipient of numerous grants and awards, from the Toronto Arts Council, the Ontario Arts Council and the Canada Arts Council. She has received public commissions from the Art On Public Lands, Visual Arts Centre of Clarington and the Koffler Gallery in Toronto. Most recently her work was purchased in 2016 by the Government of Canada’s Department of Foreign Affairs to be installed in the New Nato Chancery Building in Brussels Belgium.
Her work has been published in numerous art and design publications such as Canadian House and Home, Style at Home and Cmagazine and the Globe and Mail Her work has been showcased in film and television shows such as Cityline and Steven and Chris. and projects for HBO. She was the co-founder and curator of several artist collectives , namely Farrago and The House Project Collective which was recently profiled in a documentary series, Artist of the 90's, a look at the collective art movement in Toronto during the 1990 and early 2000’s. and more recently she founded Lamont Art Projects.
Her work has been written about and reviewed by several influential art critics in Canada, including Daniel Baird, Gary Micheal Dault, formerly with The Globe and Mail, Claire Christy, Silvie Fortain and Toronto Star's Peter Goddard.
Goddard described Lamont's paintings as "great romantic gestures... Her aim to piece together an organic beauty in a fleeting psychological moment is done so sumptuously". Baird described her large canvases as "luxuriant and expressive" and her miniatures as "pristine and lyrical."
Canadian Celebrity designer Brian Gluckstein featured her paintings in the Princess Margret Hospital Lottery Grand Prize ShowHome.
Lamont is currently represented by Art Interiors and Gallery 133 in Toronto and The Christine Klassen Gallery, formerly the Weiss Gallery, in Calgary.
Her work is in collections throughout Canada, the United States, Europe, Australia and Asia. Lamont has been a founding member of several art collectives such as Farrago, The Red Head Gallery, The House Project. She founded Lamont Stewart Art Projects in 2016 and has participated in several art fairs in Canada and the USA, including The Affordable Art Fair NYC , Fall 2017 and Spring 2018.
To date, Madeleine Lamont had had over 25 solo exhibitions in Private and public Galleries and numerous group and collective exhibitions,
Lamont's work can also be viewed online at www.madeleinelamont.com. and on Instagram: madeleine_lamont_
I first conceived of my botanical series in 2004, it stemmed from an interest in seventeenth-century European still life painting. My early intention for this work was not to simply mimic the realism, symbolism and illusionist methods that were the major proponent of the Dutch still life masters but to use them as a place of departure in order to create my own more personal raison d’etre.
My “flowers” from the outset were meant to channel the personal experience/ thoughts and memories. My intention was for the work to possess a secret symbolism, a private vanitas reflecting my state of mind at the time of creation which was elusive, mysterious, and intimate and to do means of style and painterly gesture. A kind of self portrait,
My botanicals have evolved to have an inherent duality, on one hand they can be viewed as ornamental,/decorative they are rendered as powerful, dramatic and at times fragile. They are confused between joy and pleasure or melancholia and grief. The Flowers act out like characters in an improv, one moment sensitive, calm even serene and the next unyielding and forceful.
While my flowers are deliberate in line, colour they are also instinctive and intuitive in execution. My process has changed considerably over time, more often the flowers and foliage are drawn more from memory and any photographic references are abandoned in the early stages. The work evolves into abstract brush strokes that merge into emotional introspective dramas.
One of my preferred materials to paint on is mylar paper. It is like vellum but is a plastic thus has a smooth texture. It is a very fast and slippery to work on. The paper has a beautiful dual appearance , it simultaneously both translucent and opaque at once. This seemingly conflicting nature produces an ephemeral quality that I love working with. It is also a very unforgiving material. Paint impressions and line drawn once made are difficult to remove and they remain to reveal my process. This is for me the beautiful peculiarity of the paper. Marks becomes something permanent, hard to erase, they therefore develop a history and the work has a memory.
I like begin a new series with a working title, a nickname, often tinged with irony or humour. My botanicals have thus matured into what I now refer to as the Still Series. Full of movement, this work can become frenetic. Now stillness does not evoke the quiet record of what once was but becomes a play on words. Still is now a metaphor and the title is no longer associated with the genre but reflects the cathartic nature of my process. The physical action of making the work becomes experience visualized. The conflicts of the mind by being exposed then become reflective evoking a stillness within me and anxiety dissolves into meditative concentration. Stillness also sigests the bigger picture as the series has begun to mirror the state and struggle of nature and climate change in our contemporary landscape.