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Question 19: Which of your pieces are you most satisfied with, and why is that so?


It’s difficult to mention just one. In regards to monumental projects there are certainly works like the fountain at Tide and Bore Park here in Moncton, the monument to Father Clement Cormier. I know what kind of social opportunity lies behind the creation of these works. I am happy that it was possible to do them. There are certainly works that are a lot more contemporary that were created elsewhere with the same orientation, but in the end, in the context I was working in… And on the futuristic level, one that I was really happy with was the sculpture at City Hall in SaintJohn. This is the one that created the most problems for me, but it was a pleasure to establish a connection with an environmental context. So these are very satisfying for me. The others are more or less series of works. I can’t say, Well it’s this one, this landscape or that bird head, you know? They are part of a process. In the techniques I’m particularly known for… During my moulded plastics period, I was pretty much the only one in Canada, only a few other artists explored that field. I challenge anyone to look at that collection and judge… On the other hand, Alan Jarvis did say in 1957 that we, the Maritimes, were the backwaters” of Canadian art. I was shaken by that because I told myself, Okay we’ll prove to them that we are capable of doing things that are as innovative as what’s being done elsewhere. And I realize that here, we have no way of being represented there. So between the traditionalism of Evangeline, of the Acadian past, and the frustration of not being given consideration, you’re like a cat on a hot tin roof, in the end that’s what it is.