“Palimpsests”- Occurrence, Montreal, 2022

The exhibition title picks up on the widespread application of the palimpsest as a critical tool referring to the multiplicity of layered engagements characteristic of contemporary experience. 1 A particular aspect of these engagements is the sense that we live in a relative universe in which space and time both collapse and expand and that the past and the future find agency in the present – that we live trans-historically and trans-culturally, our awareness of one another interwoven and entangled.

1 see for instance Sarah Dillon, The Palimpsest: Literature, Criticism, Theory (2007).

Abitation 1608 (2008) interprets into three dimensions Samuel Champlain’s 1608 drawing of his trading fort at Quebec. The drawing came to represent for me an interesting fusion in how we pictorially represent our world. Champlain was both a cartographer and an illustrator, and this drawing collapses these particular ways by which we navigate the world.

The painting Now is a pictorial model for my apprehension of space as a contemporary experience – a simultaneity of multiple time-space zones which we navigate on a daily basis.

This is quite different from the homogeneous space that was pictorially constructed for the viewer by the monotheistic vanishing point of Renaissance perspective.

The works on paper that extrapolate from the NOW painting play with linear connections and extensions of this model, creating in this way fragments that become individually defined pictorial spaces that separate while also collapsing into each other.

On the north wall of the gallery the first three paintings from the series Entanglements (2022) bring together diverse cultural pictorial spaces from different paired historical periods, investing them with the colour pallet of both spaces and creating a new combination of forms and colours.

In the 2-part animation Palimpsest, a dialogue is constructed between a square and a circle. Opening with the brief construction of the square in Part 1, a silhouetted figure situated from various positions on the periphery of the screen proceeds to point towards the now-vanished square until a multitude of lines threatens to overwhelm the space.

In part 2, the figure is now situated both at the periphery and within the centre of the screen creating a dialogue between them. The figure proceeds again to initiate a series of directional lines that at a certain point end in describing a clear circle around the figure. At this point the square reappears inside the circle as the animation ends. As a palimpsest, these two dimensions, square and circle, represent two ways of being in the world, both coherent in themselves, but with differing potentials.


Yvonne Lammerich has shown nationally and internationally since 1973. Her work is included in museums as well as corporate and private collections.


You can contact Yvonne directly at yvonnelammerich@gmail.com


To inquire about artworks, please contact:
Oeno Gallery
2274 Prince Edward County Rd 1,
Bloomfield, On KoK IGO