Beaucage’s fluid, vivid style is as much influenced by contemporary and ancient Asian art, by Qi Baishi (1864-1957) and the early Qing dynasty landscape painter Shitao, as by Robert Motherwell, Henri Matisse and Jean-Paul Riopelle.
Beaucage’s dynamic of colour, line and form, as lively as it is gestural seen in works like La planète rouge II (2013) or La Porte des sept délices (2013) is equally evident in the Lac Long series of Carborundum prints produced on a lake near St-Sauveur in the Laurentians and printed with Atelier Alain Piroir in Montreal. Michel Beaucage recently exhibited in the Creations of Color show at the renowned Halcyon Gallery in Shanghai in 2013.
The visual layers in Beaucage’s paintings form a kind of landscape of inner perception in the same way Chinese art conceives of the landscape as a mirror of inner sensibility. Weaving earlier print works, collaging layers of paper, integrating sketches derived from the classics, like Tintoretto’s Noces de Cana (ca. 1562) and Rembrandt’s Night Watch (1642) Beaucage’s painting practice dialogues with art of all times. Michel Beaucage orchestrates colour, light, and form as if the world were a tactile, multi-level platform of visuality.

 
Michel Beaucage
Yin Yang
Maison de la culture de Longueuil
Édifice Marcel-Robidas
300, rue Saint-Charles Ouest
March 20 - 11 May, 2014

 
Image
La planète rouge II, 2013
Acrylic and ink on rice paper

 
Image
La Porte des neuf dragons, 2013
Acrylic, ink and rice paper on canvas
137 x 208 cm

 
Image
La Porte des sept délices, 2013
Acrylic, ink and paper

 
Image
Pomona II, 2013
Acrylic and ink on rice paper
102 x 92 cm