Montreal’s rich history of public art is well-documented, with much attention given to the vibrant murals that adorn the city’s streets and alleys. But an often overlooked component is sculptures—an art form that may not be as trendy but has an equally large impact on the city’s residents. Whether commissioned by the city or installed by an artist as an act of resistance, these sculptures contribute to the way we interact with our surroundings in public parks, along roadsides, or lining bike paths. Exploring the current landscape and historical context of sculptures on public land in Montreal provides valuable insight into the city’s boundary-pushing art and its profound impact on its residents’ lived experiences.
When walking through the Plateau, you may encounter a number of sculptures situated in front of private residences—many of these were created by Glen LeMesurier, a Montreal-based sculptor with over 25 years of experience. Working primarily with steel, LeMesurier’s sculptures are located in many of Montreal’s boroughs, colouring desolate corners with vibrant and geometric expression..
In an interview with The Tribune, LeMesurier recounted starting his most recognizable work, a sculpture garden called Jardin du Crépuscule, or Twilight Garden, that sits at the corner of Van Horne and Saint Urbain. The garden, composed of over 200 unique steel sculptures, is built on a plot of land that LeMesurier claimed over 20 years ago. Since then, he has used the property as a repository for some of his most vibrant work, to the extent that it spills onto the side of a bike lane.
LeMesurier told The Tribune that the work isn’t cohesive or particularly planned out; rather, each individual piece encapsulates its own story.
“I pour the cement and I installed the piece. And if that arrondissement wants it removed, they can, they can probably ask me to remove it. But I put in so many pieces, that it’s a lot more difficult for them to ask me to move 25 pieces, than one.”
He takes meticulous care in detailing his most recent projects, placing his statues in front of private residences. These sculptures, much like those found in the Twilight Garden, create a visual symphony of diverse colours, shapes, and sizes—no two pieces look quite the same. However, in this case they are spread all across the city in front of homes, apartments, and co-ops. The network of sculptures has become so expansive that a former McGill graduate student in the Department of Geography, Corey Dickinson, MS ‘21, built LeMesurier a map to keep track of all of them.
There is quite the unique system for dispersing his artworks. After gaining permission from a residence to place a sculpture, he offers the choice to buy the work or to let it sit there temporarily, at LeMesurier’s discretion. Many choose the former option, helping him fund the rest of his artistic endeavours. The catch? The residents never quite know what the artwork will look like—LeMesurier told The Tribune that he doesn’t like to relinquish creative control over any of his projects.
His newest residential project is a series of sculptures for a co-op on Hutchinson Street. LeMesurier had his eye on the beautiful brownstone building for some time, and when a friend residing there asked if he would create something for them, they agreed. Seeing as the co-op lacked the funds for the project, they opted to let LeMesurier maintain ownership of the piece, having it temporarily live at the co-op. He joked that they started making requests regarding the art’s colours and sizes, which he immediately shut down—as LeMesurier put it, he’s the architect.
The sculptures are both visually and principally opposite to many works of public art displayed elsewhere in the city. His work is about reclaiming pieces of Montreal as spaces for art, whether that be by the side of a road, along a canal, or in front of someone’s home.
Jonathan Villeneuve is another Montreal-based sculpture artist using his work to change the city’s landscape. Villeneuve uses a mix of architectural methods to create sculptures in tune with the surroundings, both natural and constructed environments. With permanent installations all across Quebec, Villeneuve is changing the way the public interacts with art.
When speaking to The Tribune, Villeneuve recounted the process by which he was commissioned to create his more permanent outdoor pieces. Because of a policy enacted in 1961, one per cent of the budget of all federal buildings constructed in Quebec must go towards funding a piece of public art created by a local artist for the building’s exterior. A small council comprising government officials and art specialists from across the province decides upon these grants. Villeneuve has been the recipient of many of these grants, allowing him to create pieces outside the Québec National Assembly and Parc Jean Drapeau. When drafting his proposals for these works of art, Villeneuve pays special attention both to how observers will interact with the work and how the work will interact with its surroundings.
Villeneuve’s projects largely sit at the intersection of nature and technology—a marriage that is well suited for outdoor pieces. His work Utopie, found in Parc Jean Drapeau, nestles perfectly amongst the trees and gardens, while simultaneously mimicking the historically built environments, with the Biodome in the background. The yellow metallic sculpture showcases LED lighting that is intricately linked to its support beams. During the day, it forms captivating geometric shapes, and when night falls, it transforms into a dazzling display of radiant beams of light. Villeneuve cites natural elements, such as waves, as major influences on the way he incorporates the use of light and movement within his sculptures. This combination of nature and technology is also present in the design process, which is primarily achieved using design software.
“My work doesn’t hold the traits of manual work so much, they’re all manufactured material from industrial processes. I don’t make bronze sculptures or moulding. But they’re all custom parts.”
Villeneuve describes his process as almost architectural; he completes design work on his computer, creates models, and then allows a manufacturing process to bring his creation to life. “I work with the professionals also, like programmers, designers, fabricators. And I’m not really attached to one specific technique.”
It is this convergence of artistic and technological innovation that allows his pieces to feel participatory for the observer. His work avoids alienating the audience by inviting observation, questioning, and interaction.
Another artist who has been a recipient of the Quebec public art grant is Catherine Bolduc. Based between Montreal and Val-Morin, Bolduc’s works have been displayed internationally in both public spaces and art galleries. Her work in the public realm has focused primarily on reflecting the neighbourhood in which it is situated. In 2014, the City of Montreal commissioned Bolduc to erect a piece at Parc Lahaie. Les Anges Domestiques is a love letter to the wonderfully diverse architecture surrounding the park.
“In front of the church, there’s one of the oldest [locations of] the Bank of Montreal, and on the corner, the [building] that is kind of Gothic—which is fire station now—used to be the City Hall of Saint-Louis-du-Mile-End before it was amalgamated into Montreal,” Bolduc said in an interview with The Tribune.
The piece is crafted entirely from bronze casts of items found at garage sales in and around the neighbourhood. Each arch on the piece represents a different population living within the neighbourhood, reflecting their unique architectural and artistic history. Bolduc spoke about wanting her public arts to feel comfortable and reflective of the neighbourhood in which it is situated. She recounted stories of building sculptures placed at elementary schools and wanting them to appeal to the students who went there.
“I want to do something that people will like; it’s their neighbourhood. I did a few [sculptures] for primary schools so then you think about the kids because you [want them to] enjoy it, and like the teachers, they love it when it’s something that the kids will appreciate because they can learn something about [art]”
This same principle seems to be applied to her work in the Mile End—wanting all parts of Montreal’s diverse cultural communities to feel welcome and represented within public art.
Tactile public art, such as sculptures, has a profound impact on both the physical landscape and the residents who live there. Montreal is fortunate to have a thriving community of artists who go beyond beautifying the landscape and actively contribute to creating a welcoming environment for its residents. They have the opportunity to make a significant impact by reclaiming abandoned properties and infusing them with artistic spirit, breathing new life into these spaces. By creating art that is responsive to its viewers, artists can engage with the community on a deeper level, fostering a sense of connection and belonging. Their work has the power to fundamentally alter the way we feel represented and welcomed within our spaces, transforming them into vibrant and inclusive places for all.