Studio Visit with Marie-Andrée Allison - March 2022
Studio Visit UPDATE - May 2023
Allison is a member of the Association International of Contemporary Mosaicists (AIMC) based in Ravenna Italy. She was invited to exhibit and speak to audiences at AIMC’s Biennale held in Ravenna in October, 2022. Marie and her husband attended the conference in Ravenna, then travelled in Europe. It was an inspirational experience, and career highlight for the artist. Closer to home, Allison is participating in the Mosaic Artists of Canada exhibition held in Parksville July 1 - August 27, 2023. The McMillan Art Centre hosts this juried exhibition featuring contemporary Canadian mosaic art.
Allison with the AIMC poster in Ravenna.
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Grand Opening of the AIMC conference in Ravenna.
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Allison with her mosaic work called “Radiant Night” at the Biennale.
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Marie-Andrée Allison is a multi-media artist with an impressive career spanning over four decades. She attended Montreal’s Academy of Fine Arts in the 1970’s. Artworks on this webpage show her expertise in a variety of media including encaustic, oil on canvas, Byzantine mosaic and egg tempera. Allison’s themes and subject matter are varied, and include historical, academic, secular and sacred.
Allison is a member of the Association International of Contemporary Mosaicists (AIMC) based in Ravenna, Italy. One of her mosaic works called Offering was featured in the AIMC’s on-line magazine in December of 2021. The theme of Offering is an interpretation of verses from Dante’s Divine Comedy chosen by AIMC staff. Allison is excited to be participating in AIMC’s annual exhibition, conference and Biennale coming up in Ravenna in October, 2022. In 2021, her decorated mask was selected for the Flying Masks exhibition at the Contemporary Mosaic House in France. Over 700 guests viewed this international show, presented during the pandemic.
Detail of Fireworks
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Marie-Andrée Allison in her studio working on a winged project. Note the cutting by hand of tesserae and various materials used.
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The photo shows Allison in her home studio creating her second life-size wing. Her first wing (now sold) exhibited in 2015 at the Martin Batchelor Gallery. Materials used in this wing include shells, marble tesserae, onyx, glass and gold leaf tesserae. The tesserae are cut and recut by hand using ancient tools called Hardi and Martella. A cement glue mixture adheres fibreglass mesh to a Kerdi-board. Fresh cement defines the area to be covered during one sitting. Allison explains:
“The refraction of light from the interspersed gold and silver leaf tesserae gives a fluid brilliance. The unevenly cut onyx and the fine Qualicum Beach shells contribute to the feathery look.”
“The refraction of light from the interspersed gold and silver leaf tesserae gives a fluid brilliance. The unevenly cut onyx and the fine Qualicum Beach shells contribute to the feathery look.”
Detail of Wing nearing completion.
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The Open Circle ll, encaustic with shells and Venetian glass, 24x24 in, 2021
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Seascape with Snow, encaustic with mixed media, 20x24, 2020.
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Allison enjoys experimenting with various mediums. Encaustic, which uses molten bees wax to dissolve pigments, offers interesting visual effects and expressive brushwork. The dramatic effect of dark against light enlivens Seascape with Snow. Multiple layers of subtle colour create three dimensional effects. Strong vertical upwellings of applied pigment evoke snowy mountains and stormy seas. Delicate markmaking top and bottom adds visual contrast.
Open Circle ll was created during the pandemic during our confined time of restricted “bubbles”. The circular motif shimmers with delicate pastel hues of mauve and blue. The faint outline is texturized by shell shapes and splatters of emerald and blue Venetian glass.The permeable membrane appears to be breaking open into a new era of joyful reunions.
Open Circle ll was created during the pandemic during our confined time of restricted “bubbles”. The circular motif shimmers with delicate pastel hues of mauve and blue. The faint outline is texturized by shell shapes and splatters of emerald and blue Venetian glass.The permeable membrane appears to be breaking open into a new era of joyful reunions.
DETAIL: Fireworks.
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Fireworks, oil on canvas, mixed media, 64x45 in, 2022.
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DETAIL: Fireworks.
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Fireworks is a confident oil painting measuring over five feet in height. Allison savours the buttery, slow-drying qualities of oils. The medium allows her to blend undercoats and build up several layers of paint This expansive canvas holds a sky full of colourful eruptions. “I love the beauty of fireworks,” she says. The painting sports a variety of shapes and colours: pale coral circles and spirals, along with waterfalls of aqua blue. Some areas have dashing brushwork that flings paint skyward, accented with dots and dashes of red and purple.
The Offering (Matilda from Dante), micro mosaic, Venetian glass, marble.
50x26 in, 2020.
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Cave Dwellings in Meteora, mosaic with marble, onyx, Venetian glass and gold leaf tesserae. Triptych, 36x24 in, 2019
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The Offering is a dramatic mosaic interpretation of verses from Dante’s Divine Comedy. AIMC proposed the theme for an exhibition at the 2021 Biennale in Ravenna, Italy. The Offering was featured in the AIMC’s monthly newsletter in December of 2021. In the second section of Dante’s Divine Comedy, he meets Matilda, picking flowers by the river Eunoe. Matilda offers flowers to Dante from across the river. Their encounter ends with Dante’s baptism in the river by Matilda and his ascent to Heaven.
Meteora in Greece is an historic site that features several monasteries built atop natural pillars of rock. The monasteries were created by Eastern Orthodox monks beginning in the 14th century. Doing research on the area, Allison viewed on-line the remarkable frescos found in some of the local caves. Allison studied the buon fresco technique, which involves the application of mineral pigments on the top layer of wet plaster. “Some of these monks were gifted artists,” she says. “I admire their choice of solitude for spiritual growth.”
DETAIL: Cave Dwellings in Meteora
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DETAIL: The Offering (Matilda from Dante)
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DETAIL: Cave Dwellings in Meteora
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View of dome in St Sophia church.
Allison’s expertise in the traditional mediums of Byzantine mosaics and iconography add visual splendour to the Saint Sophia church in Fairfield. The luminous dome inside the church is an artistic and structural marvel. Allison designed, assembled and installed the dome in sections working with clergy and congregation members. “It has been such a joy and privilege to be part of this ongoing work,” she says.
St Mary of Egypt, mosaic icon, 30x24 in.
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Mother of God with Christ the Teacher, tempera and gold leaf, 24x20.
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Icons of religious figures are carefully placed to assist contemplation within the sacred space of Saint Sophia. As a mosaic,
St Mary of Egypt presents a mysterious glow and peaceful demeanour. Allison was able to construct this marvellous mosaic using only a 3 by 5 inch faded photograph for reference.
The painting of icons requires a high level of skill and dedication. Allison has years of experience with the precise methods and mediums. We see these skills in Mother of God with Christ the Teacher. Egg tempera is a traditional medium that produces a luminous sheen when painted in thin transparent layers. Colours are applied dark to light. The velvety sheen of the Mother’s cloak has blue and crimson tones. Geometric shapes and linear patterns in Christ’s clothing give shape to the seated body. The faces are serene and stylized with large eyes and circular halos. This allows a viewer to focus on the image and intuit the important message.
St Mary of Egypt presents a mysterious glow and peaceful demeanour. Allison was able to construct this marvellous mosaic using only a 3 by 5 inch faded photograph for reference.
The painting of icons requires a high level of skill and dedication. Allison has years of experience with the precise methods and mediums. We see these skills in Mother of God with Christ the Teacher. Egg tempera is a traditional medium that produces a luminous sheen when painted in thin transparent layers. Colours are applied dark to light. The velvety sheen of the Mother’s cloak has blue and crimson tones. Geometric shapes and linear patterns in Christ’s clothing give shape to the seated body. The faces are serene and stylized with large eyes and circular halos. This allows a viewer to focus on the image and intuit the important message.