widgery @ gis.net
1975 Yale University, B.A.
1974 Tyler School of Art in Rome, Temple University.
2002-03 "Playthings", Buschlen Mowatt Galleries, Vancouver, BC and Palm Desert, CA.
2002 "White Whispers", Silas-Kenyon Gallery, Provincetown, Massachusettes.
2002 "Playthings", Koffler Center for the Arts, Toronto, Ontario.
2001 "...All in Row", Silas-Kenyon Gallery, Provincetown, Massachusettes.
2001 "Lost Sense" Emison Art Center Gallery, Depauw University, Greencastle, Indiana.
1999 "Lost Sense" Moreau Galleries, St. Mary's College, Notre Dame, Indiana.
1999 "Lost Sense" Buschlen Mowatt Gallery, Vancouver, British Columbia.
1998 "Lost Sense - An Installation by Catherine Widgery", Royal Ontario Museum,
1998 "Lost Sense" Leo Kamen Gallery, Toronto, Ontario.
1994 "Memory's Minefield", The Glendon Gallery, York University, North York, Ontario
and the Leo Kamen Gallery, Toronto, Ontario.
1992-93 "Collective Amnesia" The Gallery/Statford, Stratford, Ontario,
MacLaren Art Center, Barrie, Ontario, Rodman Hall Arts Center,
St. Catherines, Ontario, Koffler Center of the Arts, North York,Ontario,
Tom Thompson Memorial Art Gallery, Owen Sound, Ontario, with the
support of the Ontario Arts Council and the Ministry of Culture of Ontario.
1992 Galerie Clara Maria Sels, Dusseldorf, Germany, with two others.
1991 "Corps Absent", Centre d'exposition CIRCA, Montréal, Québec.
1990 "Absent Sea", Leo Kamen Gallery, Toronto, Ontario.
1990 "Private Spaces", Mississauga Art Gallery,Mississauga.
1989 "New Works - Catherine Widgery",Galerie Daniel, Montreal.
1989 "Uncertain Dwellings", Leo Kamen Gallery, Toronto, Ont.
1988 "Summer Winds", Ville de Mont-Joli. Organized by the
Musée de Rimouski, Québec.
1987 Galerie Port Maurice, Ville de St. Léonard.
1986 Hooks-Epstein Galleries, Houston, Texas.
1979 Sweetbriar Gallery, Sweetbriar College, Sweetbriar, Virginia.
1979 Saratoga Performing Arts Center, Saratoga Springs, NY.
2001 "Artcité", Musée d'art contemporain de Montréal, Montreal, Quebec
2001 "Les envahisseurs d'espace", Musée Lachine, Lachine, Quebec
2000-02 The 7th International Shoebox Sculpture Exhibition,
University of Hawaii, traveling exhibition.
1998-00 "Women Beyond Borders", travelling to over 36 countries as
more than 200 women artists from around the world interpret
the "box", organized by the Women's Art Resource Center for the Toronto
portion of the exhibit. Wilfred Lam Center, Havana, Cuba,
Museo de Arte Contemporaneo de Oazaca,
Mexico, Akino Fuku Museum, Tenryu, Japan, Gallery One, Tokyo,
Japan, Ireland, Tin Sheds Gallery, Australia, Sana Fe, New Mexico, Gallery
Saigon, Saigon, Vietnam.
1997 "Points de Suspensioné", Centre d'exposition CIRCA, Montréal, Québec.
1995-98 "Survivors in Search of a Voice", Royal Ontario Museum, Toronto,
Ontario, Art Gallery of Nova Scotia, Halifax, Mackenzie Art Gallery,
Regina, Saskatchewan, Beaverbrook Art Gallery, Fredericton, New
Brunswick, Thunder Bay Art Gallery, Thunder Bay, Ontario,
Mayo Clinic, Rochester, Minnesota, also travelling to
Philadelphia, Las Vegas, Atlanta, and Detroit.
1995 "Libre Echanges", Musée d'art de Joliette, Joliette, Quebéc.
1995 "The Common Hand", Leo Kamen Gallery, Toronto, Ontario.
1993 "Outre-Terre" Brussels City Hall in cooperation with the Délégation
générale du Québec en Belgique and the Galerie La Venerie and the
Galerie Alexandra Monett de Watermael-Boitsfort, Brussels, Belgium.
1992 "Aux Quatre Vents", organisé par le Centre des arts
contemporains du Québecé Montréal, Montréal,QC
1991-92 Socrates Sculpture Park, Long Island City, New York
1991 "Espace Privés", Maison Hamel-Bruneau, Ste. Foy, Quebec
1990 "Expressions plurielles", Musée du Québec, Québec.
1990 Leo Kamen Gallery, Toronto, Ontario
1989 "Espace-Mur", Galerie Frédéric-Palardy, Montréal.
Organized by sculpture magazine "Espace".
1989 "Dieux et Diables", Centre d'exposition CIRCA, Montréal.
1989 "Sculpture: Six Artists from Quebec", Leo Kamen Gallery,
1989 "Sculpture 89", Galerie Daniel, Montréal, Québec.
1988 "Sculpture 88", Galerie Daniel, Montréal, Québec.
1988 "Dix ArtistséLa Terre", Centre d'exposition CIRCA, Montréal, Québec.
1988 "L'artiste au jardin", Musée de Rimouski, Rimouski, Québec.
1986-7 "Québec en 3-D", Centre Georges Pompidou, Paris, France, juried.
Organized by the Délégation culturelle du Québec.
Travelling exhibition in Quebec, 1987.
1986 Cantor/Lemberg Gallery, Birminghim (Detroit), Michigan
1986 Galerie du Musée, Musée du Québec, Quebec.
1986 "Oh what a relief!", Martina Hamilton Gallery, New York.
1985 "Regards", Place du Parc, Montréal, sponsored by the Ministère
des affaires culturelles du Québec.
1985 "Fun de mental", Parasol Gallery, Sag Harbor, New York
1985 "Confrontation 85", Centre Claude Robillard, Montréal, Quebec,
1985 Organized by the Conseil de la Sculpture du Québec.
1985 "Tout l'art du monde", Université du Québecé Montréal, sponsored by
the Ministry of Cultural Communities and Immigration.
Travelling exhibition in Quebec.
1984 "Introductions; Davidson, Kaufman, Widgery", Hooks-Epstein
Galleries, Houston, Texas.
1981 "Concordia Biennale", Concordia University Art Gallery, Montreal, Quebec
TRAIL OF DREAMS, TRAIL OF GHOSTS, City of Santa Fe, NM. Two works are
placed in parks along the route of the old Camino Real. In Frenchyís Park,
two intertwining stone walls 44 feet in diameter represent the Native
American and Spanish cultures that become intertwined as a result of the
Camino Real. At the center open area five feet below grade, a mosaic of
stone, glass, metal and concrete portrays the trail. At De Vargas Park,
a dome of steel cut-outs casts the imagery of the belief systems of the two
cultures in light and shadow. 2002
PASS THROUGH THE LAND, Metropolitan Stadium District, Denver, CO.
Winner of an international competition, this environmental work brings
the textures, colors and forms of the Colorado mountains to a 300'
diameter park in the form of a modified labyrinth. A second area has five
28 foot tall towers that suggest a grove of aspen trees. The silhouette of
the aspen foliage is created from round stainless discs that tremble in
the wind animating the grove with light and sound. Stone work 2001;
Aspen Towers 2002.
LIGHT STORM, Mesa Arts and Entertainment Center. This environmental
work has small stainless discs set into the beige slate paving throughout
the complex suggesting the swirling winds of the desert. The light
reflecting from the small discs creates an animated experience. 2004
RIVER ARCH, The City of Winnipeg, Main Street and Norwood Bridges. The
largest art commission in Winnipeg's history, this work features an
asymetric stainless parabolic arch made of stainless steel mesh with
the pixilated image of a harvested field created from tiny squares of
stainless plate welded to the mesh. The arch rises from the bank of the
river and "plunges" down between the bridges into the river. The work is
the entry, the gateway to the city. 1999.
BY HER OWN RADIANT LIGHT, Grace Church on the Hill, Toronto, Ontario.
Memorial wall sculpture: In the center of a circle of copper discs
representing the phases of the moon, hundreds of fragments of platinum
leaf covered metal are cut as fragments of light on water and installed as
a reflection of moonlight streaming below the full moon as a wall relief.
LA PLUIE DOUCE, Le centre hospitalier Charles Lemoyne, Brossard, Quebec.
An environmental work where an eighty foot long etched glass roof over an
access ramp casts patterns of concentric rings so that visitors are
surrounded by the patterns of a light rain fall on water. The surrounding
landscape echoes these same concentric rings through terracing and
LIGHT VIBRATION, The Glenn Gould Award, given by the Glenn Gould
Foundation in honour of an Yo Yo Ma who has made an outstanding
contribution to the world of music. A live flame behind an ultra thin
marble disc whose striations suggest the landscape of the Far North,
illuminate the landscape and respond to the vibrations of music played in
the presence of the work. 1999.
LIQUID ECHO, The Penrose Condominium Complex, 750 Bay Street, Toronto.
Environmental work with wind driven 'waterfall' element powered by air
from ventilation ducts. Paving, planting and seating all part of work.
H and R Developments. 1999.
SWIFT CURRENT, GENTLY FLOW, Centre d'acceuil Monseigneur Coderre,
Longueuil. River designs taken from old topographic maps etched into the
glass of the entrance hall and dining area. An arch in which residents can
sit made of stainless steel with water patterns cut out so that the
shadows cast suggest the surface of the water. Ministére des affaires
culturelles du Québec, 1997-98.
ATTENDRE LE CIEL, Lotto Québec, comemorative edition of 15 works in
bronze and fabricated brass elements.
LE VENT SE LEVE, Hautes Etudes Commercials (the Business School of the
Universite de Montreal). Outdoor work made up of four bronze trees
twenty feet high with an eight foot square gold leafed pyramid "floating"
in their brances. Live vines grow up the bronze trees and the leaves
become luminious when lit from below by intense flood lights at night.
Ministére des affaires culturelles du Québec, 1% program, national
LE TEMPS PASSE, Centre d'acceuil de l'Assomption. Outdoor work that
includes 320 square metres of mosaic and a gazabo with a copper leaf
dome 16 feet in diameter. Ministére des affaires culturelles du Québec,
1% Program. 1995.
NOS JOURS SONT COMME L'OMBRE QUI PASSE, Ecole Chambly. Outdoor
project, concrete fossil form 21 feet in diameter, real fossils forms from
400 million years old specimens cast into the surface, indoor wall bas-
relief 24 feet by 14 feet. Ministére des affaires culturelles du Québec,
1% Program. 1994.
CYCLES Ecole Ste. Julie. Large, carved granite and cast bronze seedlings
set in the landscape below the trees that actually drop the tiny seedlings
each year. Indoors, a 45 foot high suspended work of floating bronze and
steel seedlings above an interior garden . Ministére des affaires
culturelles du Québec, 1% Program 1994.
OBJECTIVE MEMORY, Ottawa City Hall, designed by Moishe Safdie. Outdoors,
three elements of bronze and aluminum in a relfecting pool. National
Competition. The City of Ottawa 1993.
PASSING SONG, International Symposium of Outdoor Sculpture, Montreal.
A dome 15' in diameter and 18'high. Permanently installed in Lachine
PARADE, Ecole Emilie Gamlin, La Prairie, Québec. Outdoor sculpture made
up of eight bronze elements approximately 12 feet high each. Ministére
des affaires culturelles du Québec, Integration of Art and Architecture
Program (1%). 1992-93.
POINT DE DEPART, L'Ile de Terrebonne, historic site, Quebec. Outdoor
sculpture that moves in the wind, 15 feet high. Ministére des affaires
culturelles du Québec, Integration of Art and Architecture Program (1%),
MURMURS DE L'INFINIT, courtyard in an elementary school on Ile des Soeurs
in Montreal. The work includes a recessed amphitheather for seating and a
"confessional" bench at the edge of a 'crack' which bisects the area of the
courtyard. Ministére des affaires culturelles du Québec, 1991.
WIND BOWER, Gairloch Gardens, Oakville, Ontario. 17 foot high outdoor
sculpture that responds to the wind with delicate wind chimes. National
competition commissioned by the Oakville Galleries, 1990.
WIND BOAT, 25 foot high outdoor kenetic sculpture. Ville de Lasalle,
ENFANCE EN SEQUENCE. Elementary School, Aylmer, Quebec. Ministére des
affaires culturelles du Québec, Integration of Arts and Architecture
Program. Outdoor sculpture, 9 elements based on videos of a young child
running cut from perfored metal and set behind a perforated metal screen
so the images vibrate as the viewer walks by, each is ten feet high. 1990.
CITY PEOPLE, The Royal Bank of Canada head office, Toronto. Outdoor
sculpture, twenty over life-size moving silhouettes that are
anamorphically distorted and turn in the wind. 1989.
LE BON VENT, Canadian Embassy in Geneva, Switzerland. 15 foot etched
brass wall sculpture. Sponsored by the External Affairs Department of
JARDIN DES OISEAUX, Douglas Hospital, Montreal. 52 foot environmental
piece with fountain. Ministére des affaires culturelles du Québec,
Integration of Art and Architecture program. 1987.
WAITING FOR THE TRAIN, CLSC St. Henri (Medical and Social Services
Center), Montreal, Quebec. 22 foot steel mural. Sponsored by the Ministére
des affaires culturelles du Québec. 1985.
ICARUS, McGill University, Montreal. Mobile, 30' x 10' x 12', 1983.
AWARDS AND HONORS
Elected member of the Royal Canadian Academy of Arts, 2002
"Aide aux Artistes Professionnels", "A" Grant, Conseil des Arts et lettres
du Québec, 1998. Long term.
Merit Award for excellence in design by The Advertising and Design Club
of Canada for the Lost Sense catalogue, 1998
"Aide aux Artistes Professionnels", "A" Grant, Conseil des Arts et lettres
du Québec, 1996. Long term.
"Aide aux Artistes Professionnels" , "A" Grant, Conseil des Arts et lettres
du Québec, 1994. Long term.
"Aide aux créateurs", "A" Grant, Ministére des affaires culturelles du
Québec, 1991. Short term.
"Aide aux créateurs", "A" Grant, Ministére des affairs culturelles du
Québec, 1990. Short term.
"Soutiené la Création" grant by the Ministére des affaires culturelles du
Québec, 1987. Long term.
Fellowship at Yaddo, Saratoga Springs, New York, 1979.
Fellowship at the Virginia Center for the Creative Arts, Sweetbriar,
Fellowship at the Millay Colony, Austerlitz, New York, 1978.
Cum Laude & Special Distinction in Fine Arts, Yale University, 1975
Ethel Walker Prize, Fine Arts Faculty, Yale University, 1975.
Canada Council Art Bank
Musée du Quebec
Musée d'art comtemporain, Montréal, Québec
Concordia University Collection, Montreal, Quebec
Musée Regionale de la Cote nord
Musée de la Ville Lachine
Musée d'art de Joliette
The Gallery Stratford
Wilfred Laurier University
Algoma Art Gallery
Royal Bank of Canada, Toronto, Canada
McGill University, Montreal
Nova Steel, Montreal, Quebec
McDonald's Corporation, Montreal, Quebec
McMaster Meighen, Montreal, Quebec
Roy Heenan of Heenan Blaikie, Montreal, Quebec
Stikeman Elliott, Montreal, Quebec
Ministry of Cultural Communities and Immigration, Quebec
Centre d'arts d'Orford, Mt. Orford, Quebec
Skidmore College, Saratoga Springs, New York
Goodwin, Dannenbaum, Littman & Wingfield, Houston, Texas
Fine Arts Planning Group, Boston, Massachusetts
GEM Agencies, Houston, Texas
Falick-Klein\Architects, Houston, Texas
Virginia Center for the Creative Arts, Sweetbriar, Virginia
Robert Feldman of Parasol Press, New York, N.Y.
CATALOGUES, BOOKS AND FILM.
PLAYTHINGS, Koffler Gallery, essays by Carolyn Bell Farrell and
Kyo Maclear, Toronto, Ontario, 2002
ARTCITE: QUAND MONTREAL DEVIENT MUSEE, Musee díart contemporain de
Montreal, forward by Marcel Brisebois, Montreal, Quebec, 2001
CENTRE DES ARTS CONTEMPORAINS DU QUEBéC MONTRéAL, forward by
Dominique Rolland, director of the center, Montreal, Quebec, 2000.
THE 7TH INTERNATIONAL SHOEBOX SCULPTURE EXHIBITION, forward by
Tom Klobe, Director of the University of Hawai'i Art Gallery, Honolulu, Hawai'i, 2000.
LOST SENSE: AN INSTALLATION BY CATHERINE WIDGERY, Forward by
Howard Collinson, essay by John Kissick, Institute of Contemporary
Culture, Royal Ontario Museum, 1998.
LOST SENSE, the video by Carl Bessai and Raven Media Production, with
support by BRAVOFact, 1998.
HIDDEN VALUES - Contempory Canadian Art in Corporate Collections, by
Robert Swain, 1994, published by Douglas and McIntyre,
Vancouver\Toronto, p. 110 and 153.
MEMORY'S MINEFIELD , Glendon Gallery, York University, 1995.
OUTRE-TERRE Montreal/Brussels, text by Jean Dumont, Centre d'exposition.
CIRCA, Ministere des Affaires Culturelles du Quebec and Conseil des arts
de la Communaute urbaine de Montreal. 1993.
CEUX QUI ONT LE PAS LéGER MEURENT SANS LAISSER DE TRACES, un film de
Bernardémond en collaboration avec Catherine Widgery, Téléfilm Canada,
SOGIC, Radio-Québec, Gagnant du Prix André Leroux de l'AQCC et the 1993.
Golden Sheaf Award Best Documentary, 1992.
COLLECTIVE AMNESIA, text by John Grande, Gallery/Stratford, 1992.
Stratford,Ont. with the support of the Ontario Arts Council.
Kunst aus Québec/Canada, Galerie Clara Maria Sels in collaboration with
the Ministére des Affaires Culturelles du Québec,and the German federal
La Décennie de la Métamorphose, Musée du Québec, Québec, 1992.
Sculpture: Séduction 90, Quebec Sculpture Council, 1990.
Private Spaces, text by Elizabeth Wood, The Mississauga
Civic Center Art Gallery, 1989.
L'artiste au jardin, Rimouski Museum, Québec, 1988.
Dix artisteséla terre, CIRCA Exhibition Center, Montreal, Quebec, 1988.
Regards, Ministry of Cultural Communities and Immigration, Québec, 1985.
Tout l'art du monde, Ministry of Cultural Communities and Immigration,
"Shedding light on the tensions of intimacy: Towers of light", Catherine
Widgery, White Whispers, Cate McQuaid, Boston Globe, August 30, 2002 p. C15
"Provincetown Rebounds", Eileen Kennedy, artsMEDIA, Summer 2002, p. 20-22
"Catherine Widgery", Kyo Maclear, CANADIAN ART, Summer 2002, p. 76-77
"A Red Ringer", Heather Hammatt, LANDSCAPE ARCHITECTURE, May 2002, p.20
"Surrealism Lite and Tight", Sarah Milroy, THE GLOBE AND MAIL, Feb. 19,2002 p.R3
"Great Leaps of Imagination", Peter Goddard, THE TORONTO STAR, Jan. 24,2002 p.30
WHERE: TORONTO, "Forces of Nature", Betty Ann Jordan, Jan. 2002, p.18-19.
THE SCIENCES, Nov/Dec. 1998 p. 8, Jan/Feb 1999 p. 10, Nov/Dec 2000 p.8.
"Commissions", by Lori Wallace, SCULPTURE , volume 19, May 2000, p.17.
"Unnatural Tales of Catherine Widgery" by Paula Gustafson,
WORLD SCULPTURE NEWS, volume 5, Summer 1999, p. 48-51, Hong Kong.(cover story)
"More than Museum Pieces", by Robin Laurence, THE GEORGIA STRAIGHT,
Feb. 25-March 4, 1999 p.69. Vancouver, B.C.
"Bridge Art Commanding", Morley Walker, Winnipeg Free Press, Sept. 25, 1998 p. D7.
"Lost Sense" by John Grande, SCULPTURE, (cover story), July/August, 1998, p. 42-47.
"Catherine Widgery - Sensations retrouvées/Lost Sense" by Virginia
MacDonnell, ESPACE, (cover story) Summer 1998, p. 15-19.
"Dream Works" by Donald Brackett, CANADIAN ART, Summer 1998, p. 86.
"Le sensationnalisme des sensations" by John Grande translated by
Monique Crépault, VIE DES ARTS, Spring 1998, p. 60-63.
"Weird Artifacts and Warhol", by Dorota Kozinska, The Gazette, March 21,
1998, section J, p.5.
"Widgery's Wonderous Widgets", by Gillian Mackay, The Globe and Mail,
February 14, 1998, p. C14.
"Catherine Widgery, raider of the lost archives", by Christopher Hume, The
Toronto Star, February 19, 1998, pK8.
"Catherine Widgery livens up the ROM", by Deirdre Hanna, NOW, February 12-18, 1998, p.75.
"Visions of Grandeur", by Betty Ann Jordon, WHERE TORONTO, February, 1998, p. 18.
"Lost Sense", by Nelda Rogers, AZURE, January/February, 1998, p. 12.
"Un pont entre les sciences naturelles et l'art contemporain", L'EXPRESS,
3 to 9 February, 1998.
"The Art of Courage: Survivors in Search of a Voice", Penelope Galasser, Matriart,
vol. 6, #'s 2&3, p. 20-25, 1996.
"The Joan and Barbra Show", Canadian Art, Gillian MacKay, Summer 1995, p. 26-35.
"Shedding Light: National Travelling Exhibition Focuses on Breast Cancer" ,
The Gazette, Ann Duncan, March 4, 1995, p. H1.
"Survivors in Search of a Voice", ESPACE , John Grande, Fall 1995, p. 40-42.
"Outre Terre", ETC., John Grande, fevrier-mai 1994, Volume 25.
"Rencountrea au-dessus de l'Atlantique", La Libre Belgique, Martine Dubois,
Dec. 8, 1993, p. 17.
"Outre-terre voyage entre Montréal et Bruxelles", Le Soir, Annick Henrotin,
Dec. 8, 1993, Brussels, Belgium.
"Territoires Imaginaires", Le Devoir, Mona Hakim, Sept. 26, 1993 Montreal, Quebec.
"Delighting in the dramatic", Ottawa Citizen, Nancy Beale, May 1, 1993,
"Debate measure of art's success", Ottawa Citizen, Nancy Beale May 9,1993, ARTS ETC.
"Works show struggle for balance" The Sun Times, Owen Sound, March 13, 1993. p. W3
"An Evocative Lament for a Compromised World", The Globe and Mail,
Kate Taylor, December 18, 1992, page C6
"Merkqurdig atmende Kunstwesen", Kultur in Dusseldorf,
Wesldantsche Zeitung, Helga Meister, 3-1992, p.14
"Dossier: Montreal, Canada" John Grande, SCULPTURE, Washington, DC,
September, October 1992 p.12, 13.
"Une systémique d'organisation sociale", Yvan Moreau, ESPACE, summer 1992, p.14,15,16.
"Une dousaine de sculpturesé voir sur la promenade du Vieux-Port",
Raymond Bernatchez, LA PRESSE, 26 July, 1992, p.C6.
"Sculptures aux quatre vents", Alain Demers, LE DEVOIR, 16 May, 1992 p.9
"Nouvel Air", Stephanne Aquin, VOIR, 15 July, 1992, p.15
"Corps Absent", John Grande, VIE DES ARTS, Winter 1991-92, p.68
"De la Sculptureé l'echelle humaine", Marie Delagrave, Le Soleil, 13 of July, 1991.
"Focus on Catherine Widgery", Betty Ann Jordan, Managing Editor,
Canadian Art, Fall 1990, p.107
"L'homme dans le paysage", Jean Dumont, Le Devoir, April 27, 1991, p. C10
"Art Public, Qui se soucie du vrai monde?", Jean Dumont, Vie des Arts,
Summer 1990, p. 31-35
Sculpture:Séduction '90. Un bilan', Charlotte Gingras, Espace Sculpture,
Fall 1990, p.39-41"Expressions pluriellesserit de l'ordre reconnu", Régis
Tremblay, Le Soleil, 8 March 1990, Québec.
"L'art du féminin pluriel", Denise Martel, Journal de Québec, 11 March 1990.
"Sculpture 89", Lawrence Sabbath, Vie des Arts, Sept. 1989.
"La céramiqueé l'assaut de l'art contemporain", Jean-Claude Leblond,
Vie des Arts, June 1989.
"Fossiles de vent", Joelle Morosoli, Espace, Sept. 1988.
"Harvesting artists's fertile imaginations", Ann Duncan, The Gazette, Aug. 1988.
"Les fossiles de vent aux Jardins de Métis",L'Information,Aug.88
"Fossiles du vent", Lisette Morin, Le Progrés-Echo, Aug. 1988.
"De la contemplationé la réverie", Marie Delagrave, Le Soleil, July 1988.
"Vingt sculptures québécoises contemporaines", Eliane Gaudet, Le Droit, July 1988.
"L'artiste au jardin",La Régionale gens d'affaires, June 1988.
"Petites sculptures de grands artistes", Denis Martel, Journal de Québec, May 1988.
"Architecture de bronze et verre",Magella Paradis,Le Soleil,May 88
"Le flamant sera-t-il roseéternellement?", Eric Devlin, Décormag, April 1988.
"Une sculpture dans mon jardin: une premiére québécoise", Milan Havlin,
Québec Vert, March 1988.
"Florexpo: une sculpture dans mon jardin", Janou Gagnon, La Presse, March 1988.
"Placeé la photo eté la sculpture", Claire Gravel, Le Devoir, Feb. 1988.
"La sculpture contemporaineé l'ége du fer", Claire Gravel, Le Devoir, Nov. 1987.
"Nouvelle exposition", Progrés-St-Léonard, Jan. 1987.