Jacques Clément created the works that appear in Contingence Figurative largely by accident.

He was attending a host of weekly sketch drawing classes in his home base of Montreal, struggling to carry his bulky sketchbook around on his bike. He discovered that the strong paper used by patternmakers was the perfect solution to his woes - large sheets of the paper could be divided into sections for sketches and folded up neatly into any backpack or bag over and over again.

Clément's solution to his transport problem resulted in the works that appear in this show. When he unfolded and laid out his sketches on the large brown sheets of paper, he realized that they created entirely new works of their own. The blank squares that had not yet been drawn in gave Clément colourful breathing room for complimentary sections of tone and hue. These areas allowed room for experimentation - if one sketch was not working, he could simply paint over it with another sketch or a section of colour.

Multiple layers were created through this compartmental process. Each of these works feature a range of movements and eloquent lines through both the individual sections and the pieces as a whole.

Using this format, Clément is able to breathe new life into the classic figurative nude sketch. His choice to use a stick to paint nude sketches highlights how he has become a master of his form - the difficulty level requires Clément to be very aware of his technique. The lines are subtle and articulate, while maintaining an illustrative quality.

The folded papers create accordion-like sculptures on gallery walls. Each work appears in an entirely new light when viewed from different angles. He installs these works differently in each gallery he shows in - allowing for experimentation with light, area and placement.

Clément's experiments with colour moods in each work creates a balance of tone and feeling from one panel to the next. Squares of blue hues overlap one another next to dark yellow and green lines. The result is a vibrant and complex grid of elements.

The works also vary in size. The larger pieces give the impression of windowed buildings, into which viewers can peek. Thus, Clément perhaps unintentionally enters the realm of voyeuristic art. The smaller pieces work as studies and more in-depth examinations of form and movement.

The sketches themselves examine the simplicity of the female form in an organic, figurative and engaging manner. His dedication to his medium and subject matter allow each work to flourish in expressive fluidity.