Statement
It was over three decades ago that my work took a turn of no return. However, it wasn’t until after the first decade that I realized what had happened.
I studied art at a time when political art was in force. Esthetics was not only over, but perceived as senseless. At least, it was as such for one of my classmate. How could I be so shallow to seek for aesthetic values, while the world was falling apart, he asked.
As much as I agreed that art should be more than a mere object of decoration, I didn’t see how building on misery could help anyone. That day, I determined to never share my thoughts again, at least not in an art class. But ironically, that confrontation was the spark that eventually shaped my work.
Hence, in 1997 as I relentlessly craved esthetics, the journey began, after the discovery of a weathered newspaper. Left without purpose after a storm had washed away the stories it was meant to tell, the beautifully rippled Newspaper became the object of my attention.
But how to materialize my vision was a mystery, as neither paint nor traditional printmaking seem to be up to the task of fulfilling what I could conceive.
After several years of research, and frustration which had lead me to consider the novelty of using a computer to create art, a series of images were released in 2004 as limited editions of digital original prints, signed and numbered, following the ethics of traditional printmaking. A few years and two computers later, with better knowledge and improved technology, I was able to create images taking proportions that I was no longer able to physically manage, thus forcing me to explore new avenues.
From this, came the idea to explore the possibilities of recycling all the discarded printed materials and transform them into new works. Hence The Newspaper Series grew into all kind of new directions, carrying the idea of "Endless Effects of One Lost Cause" further.
After 26 years in the making, The Newspaper Series now includes works extending beyond the traditional limited edition, as many one of a kind pieces that have emerged from this recycled printed materiel have turned out to be complex works and substantial series.
Out of this new found passion for salvation, I lately initiated a second mother series which I titled The Revival Series. The new series is quickly finding its way alongside The Newspaper Series as another beacon for progress, embodying the proposition that: even from wreckage can emerge not only the good, but the best.
Biography
After contemplating the beautiful old architecture of Quebec City one day, Ginette Mailloux is inspired to pursue a creative journey. Already engaged with motherhood, she enrolls as a part time student in a fine art program which she complements with a variety of related workshops. Becoming a member of Montreal’s art most notable art organizations allows her to participate in group shows, and win a few awards which includes the opportunity to show her work in New York City.
After six years of attending classes she acquires her BFA. But her plan to become a working artist gets challenged by the birth a third child, followed by a relocation to Mexico City. Hence, sharing an hotel room with a toddler for four months, brings unexpected changes to her studio practice. Restricted by time and lack of space, she begins to create small random collages with whatever she finds at hand. Once she is able to return to canvas and paint, she discovers that it no longer has the same appeal.
Soon after, a relocation to the suburb of Houston brings on another unexpected change. One day after a storm, she finds at her doorstep, a newspaper that has been more beautifully sculpted by nature than any human hand could have ever achieved. Taken by the object, she sets out to share its intricate details.
Hence began the nearly three decade journey known as “Endless Effects of One Lost Cause”.