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Horizons Azur 2019

16 March • 7:00 am26 April • 9:00 pm


Collective exhibition of the Société des calligraphes de Montréal

From March 16 to April 28, 2019
Webster Library, Concordia University
1400 de Maisonneuve West, Montréal, QC, H3G 1M8
The exhibition is accessible every day and every evening, 24/7.

The theme, Horizons Azur (Azure Horizons), naturally evokes the true blue of the sky, and also suggests calmness, tranquility, and hope. Several exhibitors took advantage of the shelves in this particular space to explore the 3 rd dimension with a box, a book, or text floating above the page.

Various traditional and contemporary tools are also on display: pens and inks, of course, but also cola pens, ruling pens, pebbles and other unusual tools that have served to create the artwork.

An artist will give a demonstration of various tools and styles of calligraphy on Thursday, April 11, from 6 pm to 7 :30 pm, in the seminar room of the Webster Library (LB-362).  This exhibition marks the 40th anniversary of the society, and we are honoured that Concordia is lending us this space for the occasion.

The logo of the exhibition was created by Lorna Mulligan.

Some of the works are for sale. For more information, please contact the organizer of the exhibition: contact Saskia Latendresse

Exhibition Participants

Aïcha Amrane
Suzanne Bossé Phillips
Claire Bourassa
Gilles Champagne
Marie-Ève Côté
Suzanne Dallaire
Joy Deneen (présidente de la Société des calligraphes de Montréal 2017-19)
Michèle Dorais
Paulette Dufresne
Kathy Feig
Denyse Francoeur
Louise Genest
Zahar Hela et Jean-Pierre Delage
Saskia Latendresse (organisatrice de l’exposition)
Yolande Lessard
Lorna Mulligan (créatrice du logo de l’exposition)
Brigite Papineau
Diane Rioux
Louise Robillard
Louise Rousseau
Inis Sansalone
Luc Saucier
Carole Scheffer
Musk Zhang
Marion Zimmer

Aïcha Amrane

Azul (2019), private collection

Lyrics from “La mémoire et la mer”
— Léo Ferré

Personalized Roman (gestural), Turquoise acrylic ink and black ink, automatic pen 1.5 mm, pointed pen on Canson mix-media paper, 44 cm x 28.8 cm.

Artist statement: To me, “Azur” (azure) conjures up a nostalgia for the Mediterranean. I wanted to present this nostalgia with a sea of words filling an enclosed space which contains the memory of the sea (a heart or the continent of Africa, depending on what you want to see).
The title “Azul” refers not only to the colour blue in Spanish, but to “hello” in Berber (my mother tongue).
Here then is my ode to Azur and to the past. (translation Lorna Mulligan)”

Suzanne Bossé Phillips

Le lac, 100$

Ô temps ! suspend ton vol, et vous, heures propices !
Suspendez votre cours :
Laissez nous savourer les rapides délices
Des plus beaux de nos jours !
— Alphonse de Lamartine, Le Lac

Personal writing accordion book with hard cover acrylic, ink, gold leaf on Arches vellum paper (pages) and cardboard (cover), 22.6 cm x 6.6 cm (closed), 50 cm (opened).

Claire Bourassa

Je voudrais voir la mer! (2019), private collection

Je voudrais voir la mer!
— Michel Rivard
or simply “sea” (in 42 languages : afrikaans, allemand, amharique (Éthiopie), anglais, arabe, chinois, coréen, créole haïtien, danois, espagnol, finnois, français, grec, hébreu, hindi, inuktituk, indonésien, islandais, italien, kalaallisut (Groenland), kasakh, laotien, letton, lituanien, malgache, maori, mongol, néerlandais, norvégien, ourdou (Pakistan), polonais, portugais, roumain, russe, swahili ( Tanzanie), slovène, tagalog (Philippines), tchèque, tok pisin (Nouvelle-Guinée), turc, vietnamien et zoulou)

Carolingian, Chancellery, Roman and freestyle, reproductions of Asian and Arabic lettering, laser colour photocopy, collage using matte medium Waterproof Speedball Super Black ink, Ecoline, white wax pencil, Papier mâché on a latex balloon (with a glass and mirror stand), 12″ x 10″ x 10″.

Artist statement: This work is an hommage to Michel Rivard’s song “Je voudrais voir la mer”. I decided to take up the three-dimensional challenge by using a terrestrial globe that shows the immensity of the oceans. The title of the song is written in many languages over the continents.
People want to see the oceans at least once in their lives. Some are lucky enough to have seen it several times, and I wish you get to see it often too. Let’s protect our oceans! — translation: Saskia Latendresse

Gilles Champagne

Les Azurs (2019), private collection

Copperplate, Dr. Ph Martin’s Bleed Proof White on Strathmore colored art paper, 15.5 ” x 12.5″, private collection.

Artist statement: the text is a French poem describing the blueness of glaciers and their shadows under moonlight.

Text by Auguste Angellier, “Les azurs” (in Anthologie de la poésie française):

Splendides reflets bleus des parois des glaciers,
Qui plongez dans une ombre aussi bleue et splendide,
Où les pâles azurs des cristaux, des aciers,
Se réfractent sans fin en un saphir limpide,
Où les argents, tantôt nacrés, tantôt lucides,
Près desquels les rayons de lune sont grossiers,
S’unissent, en des jeux féeriques et rapides,
À des bleus assombris, somptueux et princiers ;
Gouffre idéalement bleuâtre, gouffre étrange,
Et dans lequel la main invisible d’un ange
Sème encor des béryls et des aigues-marines,
Je connais, ô glaciers, un abîme plus doux,
Plus riche et frissonnant de clartés divines,
Dans l’azur d’yeux plus purs et plus profonds que vous.

Marie-Ève Côté

Rêve d’errance (2019), 65$

Laissez-moi rêver l’espace d’un instant que j’appartienne au vent…

Personalized Fraktur, ink calligraphy over watercolour Ecoline ink on Canson CP watercolour paper, 7″ x 9″.

Artist statement: This piece evokes a sense of liberty, a fleeting moment of escape which the mind affords itself.
Feelings of airiness, spaciousness, softness and absolute freedom are invoked by the pastel background. The Gothic lettering, inspired by Gothic Fraktur, has been personalized. The delicate arabesques soften the Gothic, often perceived as angular and rigid, yet allow it to conserve its character and nobility. — translation: Patricia Shallow

Suzanne Dallaire

Aube bleue (2019), private collection

Tu entends soudain la pulsation du monde
déjà tu touches sa beauté inattendue
Dans ta bouche fondent les nuages
des ans de lutte et de nuées noires
où tu cherchais le passage
vers l’autre saison
et comme résonne étrangement l’aube
à l’horizon, enfin résonne ta vie
— Hélène Dorion, « Comme résonne la vie », éd. Bruno Doucey, 2018.

Personal writing, collage, acrylic ink and paint, gouache and sumi on tissue paper and Arches BFK Rives paper, 14″ x 11″ x 11″.

Joy Deneen (president of the Société des calligraphes de Montréal 2017-19)

Pois Chiche (2019), private collection

And now, let us believe in the long year that is given to us, new, untouched, and full of things that have never been.
— Rainer Maria Rilke (Letter to Clara Rilke, 1907)

Personal pointed pen variation, white ink and pointed nib on handmade St. Armand paper, 14 cm x 28 cm.

Michèle Dorais

Horizons Azur (2018), private collection

Roman capitals: classic and organic, Watercolours, ink, crayons, graphite on watercolour paper, 37 cm x 25 cm.

Artist statement: This poster composition allowed me to integrate the classical style of Roman capitals with my vision of the theme ”Horizons Azur” while inviting the eye to dive into a rolling landscape bathing in diffracted sunlight.

Paulette Dufresne

Boîte aux lettres (2019) private collection

Contemporary calligraphy, ink on Somerset paper, 15,5 cm x 15,5 cm x 17 cm.

Kathy Feig

Serenity (2019), 150$


Roman Capitals, paste paper pigments, gouache, gold leaf on watercolour paper, self supporting, 10.5″ x 6.5″ x 1.5″.

Artist statement: From the moment I learned how to write in grade two, I was enchanted. It introduced me to a world that is full of beauty, love, kindness and joy. I wish to communicate these and other virtues through my work.
Calligraphy for me, is a lifetime study in a simple and severe school of design. The very movements of formal writing are sacred to me.
Without the written word, there would be no civilization as we know it. Writing is an ancient, noble and sacred art form that everyone can enjoy.

Denyse Francoeur

J’ai épousé la mer (2019), private collection

J’ai épousé la mer cette nuit
À l’heure où la côte s’éclaire
La mer ne m’a rien demandé
Ni d’où je viens
Ni qui j’ai aimé
Elle a rempli ma bouche de sel
Et mon esprit de silence
— Jean Autissier, 1632

Personal hand, binding, collage and illumination, Sui ink, 23k gold leaf and binding thread on Japanese paper, St-Armand paper, handmade marbled paper and Arches Textwove paper, 8″ x 4.5″.

Artist statement: Always focused on the enjoyment of the creative process, I tend to marry a variety of techniques both old and new: illumination, calligraphy and bookbinding. In order to create this artist’s book, I allowed myself to be inspired and swayed by the text, the selection of paper and materials. (translation Patricia Shallow)

Louise Genest

Horizons (2019), private collection

Text, recto:
Où qu’il aille, d’où qu’il vienne
L’oiseau […]
Ne laisse aucune trace
Pourtant, jamais,
Il ne perd son chemin.
Dogen Zenji
Poèmes zen de Maître Dogen, Ed. Albin Michel

Text, verso:
Bleu ciel, bleu acier, bleu de prusse, bleu nuit, bleu azur, bleu horizon, bleu cobalt, bleu de méthyle, bleu givré, bleu minéral, bleu pétrole, bleu roi, bleu marine, bleu paon, bleu électrique, bleu saphir, bleu outremer, bleu persan, bleu Tiffany, bleu égyptien, bleu maya, bleu d’indanthrène, bleu canard, bleu de manganèse, bleu myosotis, bleu indigo, bleu céruléum, bleu de Flandres, bleu de Sèvres, bleu cendré.

Copperplate, Neuland, gestural and personal hands, book-object: acrylic paint, lackered ink, on white Lana Antique paper by Fabriano, linen thread,  acid-free cardboard, 10 cm x 28 cm x 16.5 cm.

Zahar Hela et Jean-Pierre Delage

Souffle (2019), private collection

Calligraphic composition, mixed media, ink and watercolour on watercolour paper, 20″ x 12″

Artists’ statement: The artists Jean-Pierre Delage, photographer, and Hela Zahar, calligrapher, in their travels together, both explore in their own ways how light and writing come into movement. Expressed in various ways through speed and gestures, the photographic moment inspires the calligraphy composition, which resonates in counterpoint with the image. These two types of gestural writing meet, and leave visible traces for the length of a short breath. — translation Saskia Latendresse

Saskia Latendresse (organisatrice de l’exposition)

Deep Blue Sky par Saskia Latendresse

Deep Blue Sky (2019), 150$

I look up in the deep blue sky and see the breadth of life

cursive wire structure, tarnish resistant silver-plated wire, Nepalese paper, foam-board, hinging tape, binder’s glue, 8″ x 11,75″ x 1″.

Artist statement: At the moment when day turns to night the sky is a deep blue that invites to reflection and commands respect.This fleeting hour is my inspiration for this work. I have been doing calligraphy since my teenage years. Over the past ten years, I pushed my development with local teachers and with teachers from abroad. Recently, I started playing with stark, simple designs, to let letters balance with a lot of negative space.

Yolande Lessard

La mer (2019), 150$

Loin des grands rochers noirs que baise la marée,
La mer calme, la mer au murmure endormeur,
Au large, tout là-bas, lente s’est retirée,
Et son sanglot d’amour dans l’air du soir se meurt.La mer fauve, la mer vierge, la mer sauvage,
Au profond de son lit de nacre inviolé
Redescend, pour dormir, loin, bien loin du rivage,
Sous le seul regard pur du doux ciel étoilé.La mer aime le ciel: c’est pour mieux lui redire,
À l’écart, en secret, son immense tourment,
Que la fauve amoureuse, au large se retire,
Dans son lit de corail, d’ambre et de diamant.Et la brise n’apporte à la terre jalouse,
Qu’un souffle chuchoteur, vague, délicieux:
L’âme des océans frémit comme une épouse
Sous le chaste baiser des impassibles cieux.
— Nérée Beauchemin (1850-1931)


Roman cursive hand, wash, watercolour mask, gouache, pointed pen, ruling pen on Moulin du Roy paper, 6.75″ x 9″ x 11.5″.

Artist statement: Inspired by Nérée Beauchemin’s beautiful poem, La mer, this work consists of two contrasting parts, accentuating the difference in luminosity between the lighter and darker parts of the piece. The upper section represents the sea, the sky and the horizon, while the lower section depicts the rocks and reefs.
The artist has used watercolour to reproduce the luminosity and transparency of such elements as the sky and the water. The horizontality of the piece and the colour blue evoke calm and serenity. The circle, symbolizing the horizon and the endless sky, renders the third dimension. Roman cursive was chosen for its airy quality, its rounded letters traced freely, lightly and fluidly. This writing allows for great freedom of movement. The long upstrokes and interlaced ascenders and descenders mirror the foamy waves splashing against the reefs.
Translation by Barbara Gapmann

Lorna Mulligan (créatrice du logo de l’exposition)

Shouts and Whispers, Into the Blue (Cris et chuchotements, vers le bleu) (2019), 300$

Shouts and whispers into the blue
Snaking downwards into the depths
Threaten with multiple pitfalls
Deep beneath the rocks
Like a profile looking out to sea
Quiet dignity
Granite slopes of massive scale
Always looking out

Personalized caps, pointed pen painting on paper, folded and with a simple method bound together as a book, watercolour, acrylic and ink, handmade copper rings, St-Armand handmade watercolour paper (each page 11 cm x 36 cm). Measure of the open book: 11.5 cm x 30 cm x 13 cm.

Artist statement: This small book is about a specific coastal area in the west of Cornwall, England. This landscape is dotted with the ruins of tin and copper mines, vestiges of its past industrial activity. The coastal paths are quiet now and we can only imagine how deafening the noise of that machinery must have been. The texts in Shouts and Whispers, into the Blue consist of partial descriptive passages and personal impressions as I walked along these paths. Colour, gesture and words collide to depict the mine-studded cliffs, then slip away with the quick instability of water.

Brigite Papineau

Un regard perdu (2019), 350$

L’horizon azur ne connait pas sa limite, il n’est pas tangible à mes idées
Une étendue de questionnements. Un regard perdu dans mes pensées.
Qui est celui qui me regarde là-bas, de l’autre côté ? Que retrouverais-je derrière ?
La limite n’est pas vue à l’horizon azur.
Je disparais dans cet espace infini.
Seuls les voyants connaissent cet horizon sans fin.

Personalized Copperplate, watercolour, etching on glass, gouache on Bristol board, 12″ x 18″.

Artist statement: In recent months, words have inspired texts that transformed into calligraphic writing. Traditional and contemporary forms come together to carry the state of my thoughts and my marks. They become one. — translation Saskia Latendresse

Diane Rioux

Nos jours et nos nuits (2019), private collection

La succession des solstices et des équinoxes raconte le voyage du soleil sur l’horizon de notre ciel nordique et compose à l’infini nos jours et nos nuits vers un horizon temporel invisible à nos yeux. — Serge Goyette

Contemporary Italic hand, folding and collage, acrylic paint and Gelly Roll on Fabriano paper, 24 cm x 30 cm x 28 cm.

Artist statement: Our summer days and nights follow each other in front of the vast horizon where the blues of the sea and the sky touch each other. From the summer solstice until the fall equinox one can see the sun travelling over the horizon. As my work progressed, the idea of sails imposed itself and added a third dimension.

Louise Robillard

Rêve bleu (2019), 150$

Je veux coucher auprès du ciel
Et, voisin des clochers, écouter en rêvant
Leurs hymnes solennels emportés par le vent.
Je verrai les tuyaux, les clochers, ces mâts de la cité,
Et les grands ciels qui font rêver d’éternité.
Il est doux, à travers les brumes, de voir naître
L’étoile dans l’azur, la lampe à la fenêtre,
Les fleuves de charbon monter au firmament
Et la lune verser son pâle enchantement.
Alors je rêverai des horizons bleuâtres.
— Extrait du poème “Paysage” de Baudelaire, dans Les Fleurs du Mal

Personal hand, collage, marouflage, ink, gouache, sumi, pipette on washi paper for collage and St-Armand paper, marouflage on wood, 8″ x 8″.

Artist statement: From one medium to the other, art has always punctuated my life. When I discovered contemporary calligraphy, I developed a passion that allowed me to reveal my universe, by prying words, images and emotions from my imagination and putting them on paper. — translation Saskia Latendresse

Louise Rousseau

Qu’en est-il de l’horizon! (2019), private collection

Acrylic ink on St Armand paper, 7 po x 8,5 x po x 7 po.

Inis Sansalone

No title (2019), private collection

Between two worlds life hovers like a star twixt night and morn upon the horizon’s edge.
— Lord Byron, from Don Juan, Canto XVI

Personal handwriting, Roman capitals, embossing, collage, Sumi, Monteverde Horizon Blue Ink, Finetec metallic gold palette on handmade paper from Papeterie St-Armand, 13 cm x 36 cm (unfolded).

Artist statement: My intention was to create a free-standing work that allows the text to be viewed throughout several panels. I wanted to render the background to reflect the continuity of time; the shimmering star-lit sky, unseen to the eye in daylight. The personal handwriting which is the quote repeated throughout the panels represents the veiled permanence of words through time. Embossing was added to include the ever-present moon, culminating in its full appearance in the final panel. The natural dye which was already part of the hand-made paper I found complements the intention of the text.

Luc Saucier

Diane, Séléné (2019), $400

Diane, Séléné, lune de beau métal,
Qui reflète vers nous, ta face déserte,
Dans l’immortel ennui du calme sidéral,
Le regret d’un soleil dont nous pleurons la perte.

Ô lune, je t’en veux de ta limpidité
Injurieuse au trouble vain des pauvres âmes,
Et mon coeur, toujours las et toujours agité,
Aspire vers la paix de ta nocturne flamme.

— Jean de la Ville de Mirmont (1886-1914), tiré de son recueil poétique intitulé L’Horizon chimérique

Copperplate variation, Hunt no. 22 nib, Dr Martin’s white ink, Winsor & Newton cerulean blue gouache, white gold on synthetic mordant black Tiziano paper, 9,75″ x 16″

Artist statement: Reflecting the poem, the calligraphy expresses the softness of the moon in the night sky, with hues of white and blue. — translation Saskia Latendresse

Framing: Galerie Vanier, 176 Boulevard Sir-Wilfrid-Laurier, Beloeil, QC.

Carole Scheffer

Telling The TRUTH (2019), 450$

Texte: “I’m innocent of this charge…I’m telling the truth…This is a circus…Sometimes I had too many beers…I liked beer. I still like beer. But I never drank beer to the point of blacking out and I never sexually assaulted anyone…this is a circus.”
— Quote: Judge Brett Kavanaugh

“He put his hand over my mouth…I was afraid he would accidentally kill me… one hundred percent. … the laugh…the uproarious laughter…. They were laughing with each other at my expense…”
— Quote: Dr. Christine Blasey-Ford”

Personal hand,  Roman, parallel pen, acrylic, Sumi ink, watercolour and washi tape.

Mot de l’artiste: The theme, Azure Horizons, suggests calmness, tranquility, hope, the vastness of a cloudless sky and the hypnotic attraction of a quiet sea.
Look beyond.
A turbulent azure background frames words from the testimonies of Justice Brett Kavanaugh and those of Dr. Christine Blasey-Ford from the 2018 US Supreme Court nomination hearing. The entrenched system of white male blue-blood privilege and entitlement, intent on its perpetuation, very forcefully drowned out the meek and unwavering voice, speaking her truth about the aggression.
The personal experience so reluctantly exposed was simply lost at this surreal event horizon and a calm carefully reinstated, as if the traumatic incident had never existed.

Musk Zhang

Rappel d’espoir (2019), private collection

La nuit nous apporte la lumière de création et de l’espoir à réaliser nos rêves. (Musk Zhang)

Hope is the thing with Feathers that perches in the Soul,
and sings the tunes without the words, and never stops at all.
(Emily Dickinson)

No reniego de mi naturaleza, no reniego de mis elecciones, de todos modos he sido afortunada. (Frida Khalo)

La lumière douce du matin attise l’espoir,
la lumière harmonieuse de la fin du jour suscite le recueillement. (Pierre Vallée)

Hope always takes you further than you wanted to go. (Ernst Jünger 1895-1998)

Partout et toujours, cherche sans te lasser le remède qui soulage, sème l’espoir : ça vivifie et ton amour peut faire des miracles. (Soeur Emmanuelle)

Monograph (cover), watercolour, collage, handmade book, pointed nib and oblique pen holder, brushes, watercolour, Pearl Ex inks, gum Arabic on pure cotton paper, black cardboard, binding thread, 15 cm  x 11 cm (closed).

Artist statement: A Chinese proverb says that a small spark can light up an entire prairie. Love and hope, two things that caress our soul. These are the sparks of my life.
1. Cut cardboard and paper to create the booklet
2. Fold the folios by hand
3. Search for quotations and design the layout
4. Paint the backgrounds with watercolour and brushes
5. Prepare a template that will be used to cut the coloured backgrounds
6. Drafts and write on the booklet pages
7. Collage on the booklet
translation Saskia Latendresse

Marion Zimmer

Coming Home (2018), private collection

You have come home to find what you already have
— Buddhist aphorism

Calligraphie anglaise et capitales romaines, techniques de collage, gouache, charbon, plume Brause, aquarelle, colle, et gouache argentée sur papier de couleur, 13,5 po x 7,5 po.

Copperplate, Roman Capitals, collage gouache, charcoal, Brause nib, watercolour, glue, silver gouache on coloured paper, 13,5″ x 7,5″.

Artist statement: I am looking back at a work I did many years ago but what I see is my love for calligraphy and the chance to explore different techniques and different tools.
What pleases me the most is the joy inherent in the artwork above the writing.
It is filled with colour and lots of movement upward.


16 March • 7:00 am
26 April • 9:00 pm
Event Category:


La Société des calligraphes


Bibliothèque Webster, Université Concordia
1400 Boulevard de Maisonneuve Ouest
Montréal, QC H3G 1M8 Canada
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