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Indigo Rose-Aimée Bélanger: Sculpting the Beauty of Everyday Life | Erin Mills Town Centre
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What can explain the stunning overnight success of the northeast Ontario artist Rose-Aimée Bélanger? Whether it is The Gossipers, one of the most widely appreciated works of Quebec public art, or Chocolate Ecstasy, the “round” bronze sculptures that she has been creating since 1995 have earned her a faithful audience both in Canada and abroad.
A discreet woman who prefers to work in the calm of her studio rather than spend time in the limelight, Rose-Aimée Bélanger has produced a generous and luminous body of work that faithfully and astutely portrays the joys of ordinary life. Yet nothing heralded a “second” career for this mother of a large family, wife, and partner of an entrepreneur deeply committed to the community, once the children had left home. It was only in her late fifties, in the early 1980s, that she finally found the leisure to devote herself to her chosen art form — sculpture — having never had the opportunity to nurture a talent she had possessed since childhood.This book, enriched by the recollections of family members and arts professionals, and accompanied by photographs of the artist and her sculptures, is the first to present an intimate look at this extraordinary woman.
What can explain the stunning overnight success of the northeast Ontario artist Rose-Aimée Bélanger? Whether it is The Gossipers, one of the most widely appreciated works of Quebec public art, or Chocolate Ecstasy, the “round” bronze sculptures that she has been creating since 1995 have earned her a faithful audience both in Canada and abroad.
A discreet woman who prefers to work in the calm of her studio rather than spend time in the limelight, Rose-Aimée Bélanger has produced a generous and luminous body of work that faithfully and astutely portrays the joys of ordinary life. Yet nothing heralded a “second” career for this mother of a large family, wife, and partner of an entrepreneur deeply committed to the community, once the children had left home. It was only in her late fifties, in the early 1980s, that she finally found the leisure to devote herself to her chosen art form — sculpture — having never had the opportunity to nurture a talent she had possessed since childhood.This book, enriched by the recollections of family members and arts professionals, and accompanied by photographs of the artist and her sculptures, is the first to present an intimate look at this extraordinary woman.
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