In an interview with BOMB Magazine, Louise Belcourt spoke extensively about her paintings, and this following passage in particular grabbed our attention with its thoughts on approaching a canvas.
"For one thing, I’m physically moving them around with me, be it to my Canadian studio or my one in Brooklyn because things get finished so slowly. I am painting the forms in such a way to produce as much of a visceral experience as possible. I also understand now that I am my painting, that the physical parameters of the canvas, while nebulous, parallel how I feel in my body. I don’t really know where my mental edges are but I can feel my physical edges much in the way I can touch the canvas’s edges. So I’m mixing landscape and architectural imagery together. Often they are one and the same thing. It’s in this melding where the human, my humanness, comes in. At first, though, the things are paintings—paintings of sculptures of landscapes."
While this may only be an excerpt of her thoughts around her current work, it alone has us looking and reading even more closely. We really enjoy how her paintings lie in a place of ambiguous abstraction and representation, forming a symbology of a combined pastoral Canadian landscape and a densely architectural New York cityscape resulting in a field of colored forms that are flat and on the surface of the support while simultaneously forming a symbolic and conceptual deep space.