Bio

''One of the fastest rising stars on the contemporary pop art scene, Sandra’s stellar rise to fame has been as surprising to her as it has obvious to more seasoned art lovers. Since her debut with Reed Projects in 2013 Sandra has gone on to worldwide fame with sell out shows at home and abroad and media coverage to rival that of some of the worlds leading names in contemporary art.'' -Martyn Reed founder of NuArt Festival and owner of Reedprojects Gallery in Stavanger/NO.

------------------------------------------ Bio/Artist Statement

Currently living and working in Montreal, Canada, Sandra Chevrier - gaze collector, idea chaser and full time single mom - produces work taking her traveling over a broad range of fluctuating emotional enigmas and concepts that have set the standard of our modern communication, exposing the limitations within our world, our self-imposed expectations and the cages we have allowed to bar us from fullness of life’s experience.

With work demanding to be dissected beyond it's surface value, Chevrier's  portraits are quite literally torn between the fantastical heroics and iconography of comic books and the harsher underlying tragedy of oppressed female identity and the exposed superficial illusion therein. Exhibiting a male-dominated world within her 'Cages', Chevrier's subjects denounce the role given to the female counterpart therein, refusing to play the part of seducer or victim.

In the greater body of Chevrier's work, the images used within the 'cages' range from scenes of conflict, triumph and defeat. The artist is choosing to highlight the fragility of the superhero, their own struggles and weaknesses, exposing the humanity within the superhuman.

Despite all the playfulness of the thing itself and all the “CRASH BAM POW,” superheroes are also fragile. We are merely human; men and women and we are entitled to the flaws and errors.

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Collectionneuse de regards, chasseuse d'idées et mère à temps plein, Sandra Chevrier est amener à évoluer à travers un large faisceau d'énigmes émotionnelles et de concepts qui ont établis les standards de notre communication moderne. Son studio étant à la maison, elle produit continuellement des oeuvres, explorant inlassablement une voie jusqu'à ce qu'elle soit sans issue, la laissant à recommencer sur un nouveau chemin. Elle relève les limites d'un monde intérieur, les attentes que l'on s'est soi même imposées et les Cages que nous avons laissé nous tenir à l'écart de la plénitude des expériences de la vie.

Ses traits son précis, une imagerie graphique, réaliste, profonde; sur laquelle se posent une matière brute ou fragile,  des gestes saccadés, parfois brusques et parfois instinctifs.

Une valse entre le réel et l’imaginaire, le vrai et le faux, le remède et le poison.

La série  « Cages Super-héros’’ ayant fait le tour du monde et ayant obtenu un succès hors norme; i s’articule autour de la quête de liberté identitaire de la femme contemporaine. Une réalité où le rôle de la femme est préconçu et où celle-ci se doit d’être à la fois aimante, passionnée et travailleuse, tout en respectants les diktats que la société dans laquelle elle évolue lui impose. Ces portraits sont muselés par des masques graphiques extraits de bande dessinés américaine, Ce mimétisme symbolise ces prisons sociales où elles cachent leur véritable identité. Ses oeuvres font se confronter le dynamisme tiré des onomatopées, des couleurs vives et de la victoire face à la grisaille de la défaite et de l’émouvante fragilité du Héros. ''Si les Super-héros tombent et se relèvent , alors nous devrions nous aussi accepter nos faiblesses et garder courage face à l’épreuve. Réalisons que nous somme humains.''

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Mirus Gallery press release April 2014

At first glance, the work of Sandra Chevrier tantalizes and threatens to tame with its utter surface seduction; almost luring one into a saccharine sweet comic-infused sleep before demanding your attention with the undulating force of it’s deeper message. Consumed in a moment by the undeniable beauty of Chevrier’s work, a closer inspection yields the menace of superficial illusion, revealing, in a sense, the darker truth at the heart of the work.


To be certain, Chevrier’s art demands to be dissected. Her collaged portraits are quite literally torn between the fantastical heroics and humor of comic books, and the harsher underlying tragedy of oppressed female identity. Chevrier depicts her female figures trapped inside society’s suffocating “Cages” of expectation; held captive by the limitations forced upon them by society and culture, and ultimately revealing how corrupt our perception of beauty has become. The comic book collages, at once anesthetizing and alluring, echo rather entertaining pop-art references that eventually bely the bitter irony that these females have been silenced, smothered, and even blinded by the very mechanisms that seduced us into their existence.

Chevrier’s collage technique, which frequently highlights epic battle scenes ripped from the pages of actual comic books, is applied rather haphazardly; yet it’s precisely this incongruous style of application (whereby fictional characters reach almost theatrical heights) that enhances the message of unrealistic pressures placed upon women in todays world, and perfectly satirizes the farce of celebrity and the vacuous nature of unattainable expectation and dream. _Tim Evans