6/30/10 - "Paysages éphémères," curated by Manon Réginbald, Maison de la culture du Plateau Mt-Royal until August 21, 2010

6/21/10 - "La Colonie" Village of Deschambault-Grondine, curated by Jean-Michel Ross, until September 27, 2010, Vernissage- event from June 18-21

5/11/10 - "Ces artistes qui impriment- un regard sur l'estampe au Québec depuis 1980," Curated by Gilles Daigneaut, Salle Gilles Hocquart of the Centre d'archive de Montréal and at the Grande Bibliothèque de Montréal, until October 7, 2010

3/4/10 - solo exhibition at Volta NY, March 4-7, 2010

9/5/09 - solo exhibition at Pierre-François Ouellette art contemporain, September 9 - October 20, 2009

Roberto Pellegrinuzzi was born in Montreal in 1958. He lives and works in Montréal and Bolton-est.

Since 1985, his work has been exhibited in over fifty solo exhibitions in Canada and in Europe. He has participated in numerous group exhibitions in Canada and in Europe, in India, and in Mexico. His work can be found in major public and corporate collections including the National Gallery of Canada, the Fond National d’art contemporain (Paris), La Maison Européenne de la Photographie (Paris), the Montreal Museum of Fine Arts, the Musée d’art contemporain de Montréal, the Musée national des beaux-arts du Québec, and Hotel Gault (Montreal). Pellegrinuzzi has also been awarded over fifteen public artwork commissions as part of the gouvernement du Québec's 1% public art program.


For many years now, a large part of my work has been an investigation of (an interest in) the very history of photography, its devices, its physical properties.

In this new series, titled Constellation, I take a different approach to landscape (a recurring theme in my art). The image in these pieces is layered into consecutive planes, decomposed into a network of geometric patterns. These planes, once reassembled, give the image depth and three-dimensionality. Among the many interleavings and networks—depending on one’s viewing angle and distance—the image breaks down and comes back together.

As the image dematerializes under our gaze, dissolving into the geometric and abstraction, the loss of cognisance instinctively leads us to refocus in an attempt to recapture the initial image, which obliges the spectator—the viewer—to move around, to-and-fro, to reconstruct it.

One may compare the experience with a stroll in the proverbial wood, where the closeness of the trees blurs our view of the countryside—until we suddenly come upon a spectacular, panoramic view of the landscape.

By its title, Constellation in fact suggests a set of abstract things linked together to form an ‟image.”

-RP