" Il faut faire de l'art pour de l'art sans trop se questionner.
Il faut en cueillir le plus beau fruit,le plaisir de créer ! " - Mon Papa
Duval, c’est peindre et dépeindre l’humain et la société. Émergente et prolifique, déjà récipiendaire de 5 prix Coup de Coeur au Symposium de Peinture de Kamouraska, Duval créée avec comme objectif de soulever la conscience sociale, déclencher la discussion et inspirer les gens à être le meilleur d’eux-même. Les visuels de Duval traitent tantôt de justice et de classes sociales, tantôt de la dualité entre fragilité et force humaine.
Principalement mise de l’avant en Amérique du Nord, notamment à Chicago et Montréal, cette criminologue de formation trouve en l’art un moyen d’illustrer sa vision de l’humain et de marier ses réflexions criminologiques aux images artistiques; tout en contrastes, remplie d’imperfections, mais chargée d’audace. Étudiant longuement ses sujets, son travail transpire l’engagement, la force et la complexité.
"We must make art for art without questioning too much.
It is necessary to gather the best fruit, the pleasure of creating! " - My dad
I paint to tell you a story, to show you my vision of the world, but also to let you imagine and rethink your own. I am eager to create artwork that will shock people, force them to react and analyse how they feel, and create a timeless discussion about humanity, relationships and society.
The themes I studied during my Criminology Master’s are the starting point for my paintings. I focus on issues I believe lack sufficient public attention and translate them into images. My art is well-suited to shine a light on social issues because of the vivid images I use, and my realistic/abstract style. I have come to develop a very personal style that allies the intensity of the black and white contrasts, the intrigue of the realistic/abstract style, and the accessibility of bold but soulful forms. As I was trying to understand my own attraction to the black and white, it became clear that it was an attempt to be as far as possible as the fallacious images filters and over saturated color, which our society is left with. As figurative images meet abstract and dripping touches, the viewer is left with her own interpretation and emotion. Working in monochrome helps to present themes that are delicate (violence, sexuality, death) with calmness and sensitivity. I paint about life and death, about human mistakes, and stereotypes. I paint guns to represent the permanent way in which life can change in a flash, but also to show that a single action cannot be the defining aspect of a person’s life. I paint crows to raise the contrast between quick judgments, preconceptions and reality, and I paint bodies to express that our minds can live in the prison of our own body or enjoying the freedom of movement of our flesh and bones.
My creative process is as chaotic as my mind is. I express myself with my brushes, my hands or with a knife; whatever tools feel right at the moment. I use acrylic for its flow, and mostly because I am eager to paint the next layer of stories. I know a piece is done when I look at her and feel she can be on her own. It is all about the feelings. Once it is done, I just hope that she will touch someone as much as she touched me. I want my art to convey emotion, but moreover, to create emotions.