Eve K. Tremblay

(Québec, Canada +Allemagne)

Eve K. Tremblay

Eve K. Tremblay’s staged photographs create an strange dynamic between reality and fiction. Actors, playing themselves, transpose their reality to the constructed universe of the pre-fabricated setting. Open House (2007) is taken from the Unmanifested Still Films series, which presents stills taken on movie sets, where film, photographically frozen, becomes an array of suspended narratives.

Other presented work: Blocking a Scene (2005)
Installation with film slides from the series Unmanifested Still Films. > 3520, Saint-Jacques / Video Rooms, Sept. 6, 2007 – Oct. 21, 2007

Eve K. Tremblay
Born in Montréal, Canada, in 1972
Lives and work in Montréal and Berlin, Germany

An active photographer since the mid-1990s, Eve K.Tremblay produces works that are related to literature, theatre, and cinema. Her images, intriguing due to their surreal quality, are often isolated moments of narrative scenes suspended in time.While the images are situated in actual places the staged character of the photographs contributes to a particular atmosphere where reality appears as fiction. In Tales Without Grounds (2004–2005), this sense of confusion is largely derived from the eeriness of the locations where the photos are taken – immense greenhouses used for hydroponics. While in Postures Scientifiques (2006–2007), a similarly uncanny sentiment is achieved through the characters – scientists who are playing the role of themselves in their own workplaces. Reality is thus presented in a fictional manner, unless it is actually the inverse … This jarring game, as is suggested in the title, Tales Without Grounds, bestows a narrative potential where space and time lose their orientation. For the series of images in Unmanifested Still Films (2001– present), this strange atmosphere is attributed less to the photographic staging than from Tremblay’s use of cinematic references that already offer a constructed sense of reality. By photographing film crews and production sites as well as set designs and cinematographic equipment, Eve K.Tremblay exposes the artificial side of film and alludes to a similar conceptual blur as in her staged photographs. This series demonstrates that, in contrast to the cinematic experience, the narrative of photography can be found in the underlying anticipation that a fixed image creates for potentiality of an unknown development.

T: 514.393.0383
[SEPT. 06, 2007 – OCT. 21, 2007]


Eve K. Tremblay, Open House, 2007. Digital print from the series Unmanifested Still Films, dimensions variable. Courtesy of the artist