GODIN, Éric : 1964

Slide cursor on images...

Several Quebecers know Eric Godin, whether or not they are interested in visual art. Editor/cartoonist with the newspaper Voir for over ten years, he stood out with his ironic and exceptionally accurate drawings of our collective imagination – and our socio-political reality – like few other have managed. His association with the TVA network – as a cartoonist – has also contributed to the notoriety of his work.

What the public generally does not know is his impressive background. He has worked, and continues to do so, on various projects: posters, books, television productions, newspaper articles, teaching… In short, Éric Godin thrives on communication and conception, endless sources of inspiration. No matter which activity he is working on, his shows off his natural and boundless talent. And that’s not all. Many other projects are still to come!

Éric Godin, the painter is not as well known from the general public since this form of expression is more personal and intimate. No matter! Éric Godin has always found pleasure in painting. And this pleasure is obviously endless. His paintings relate to his cartoons all the while being completely different . They relate in the sense that the iconic universe is similar. The artist uses wide lines to surround the shapes of his subject, just like in a cartoon. Only Godin can use the graphic dimension of his drawing by using all the aspects and characteristics found in painting. Consequently, the space on the canvas is enhanced with complex compositions and rich staging which have nothing to do with cartoons.

In fact, Éric Godin’s paintings remind us, through its brilliant structures, of a Fernand Léger for example. But the comparison ends there. The plastic art language of Godin introduces its own codes and thus is part of the new trend of an art highly influenced by the new media, leading to new horizons while keeping precious links with traditional painting.

(Excerpt from the book La peinture au Québec depuis les années 1960 by Robert Bernier, pages 168 and 169.)