Eva Quintas
Photography and media arts
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Photography

    
 
• Women of Argentina(2018-2019)
Web project + publication Nous sommes le soleil. Essay by Guylaine Massoutre. 32 photos. Éditions Varia, collection Prose de combat, Montréal, 2019.
Body of work created during a research-creation residency in Argentina. Collaborative work with the writer Guylaine Massoutre around the dictatorship period and the condition of women. Images of archives and memoriy centres are coupled with portraits of women.		    
         
 
• Amazons, Rebels, and Mutants (2008-2014)
Photo book (2014) - 50 pages, 18 photographs, french-english, Les Éditions Cayenne, Montréal.
This photographic corpus presents theatricalized portraits of Quebec female artists – choreographers, performers, poets, and filmmakers.		    
         
  • Rituals of identity, Tacticals of resistance (2001-2006)
These series produced for specific creative or exhibition contexts present portraits formed from multiple fragments that juxtapose symbolic and mythological elements from traditional cultures with references to today’s world.
    
         
  • Public Spaces (2000-2006)
Three projects that look at occupation of the public space, and at language and communication through the words and symbols of billboards.		    
       
 

• Les lieux propices (1992-1997)
This corpus was developed in the form of a number of series, most of them presented as installations. Exploring an imagery of territory and appropriation of space, each series involves more or less the same elements: portraits of solitary figures standing in the foreground of landscapes that are both banal and evocative, vast spaces and distant horizons marked by representations of the cross, the ultimate mark of our apprehension of the territory.

    
       
  • Ces jeux que les gens jouent — Le plaisir d'être ensemble (1991)
On the theme of inclusion and exclusion in our relationships with others, this photographic series interleaves mises en scène drawn from social games with scenes from daily life, in which the need for love and the fear of rejection interact.		    
       
 

• Portraits/Potins d'artistes montréalais-es (1990)
Sometimes I encounter him in the hallways of museums or universities, usually in the hubbub of a vernissage or a tavern. Whether he is (or thinks he is) rich and famous or tortured by pangs of wine and bohemia doesn’t mater: he is the artist-man, a mysterious being, marginal or eccentric, the mythic representation of the creative genius.

    
       
 

• Je deviens le rêve d'un objet (1989)
Male and female bodies superimposed on advertising images.