Armand Vaillancourt
Untitled, 1969
Cast bronze
Outside Allen Building


In the late 1950s, Vaillancourt developed an innovative method of casting abstract bronze sculptures, which he used for about a decade. Using styrofoam (and other inflammable soft plastics) packed in sand, he formed a mould for pouring molten metal which allowed him to create ‘improvised’ organic shapes similar to rugged volcanic rock formations. (Judith Parker, The Dictionary of Canadian Artists). “According to Richard Williams (former Director of the School of Art) the Vaillancourt sculpture came to the University of Manitoba campus as a result of a happy accident. In 1969, the Quebecois sculptor Vaillancourt had been attending the University of Manitoba’s “Festival of the Arts,” and in a moment of informality discussed a new technique he was using for his sculptures. He happened to have a “prototype” in the back of his pick-up truck and to the delight of his interested peers, he left it behind upon leaving Winnipeg.” (Interview with Richard Williams, Feb. 2011). We are very fortunate to have a work by a such a world-renown sculptor. One of his most famous works, the Bronze Rouge, 1963, (Red Bronze) was made using a version of this technique and is now in the collection of the Musée national des beaux-arts du Quebec.
National Gallery of Canada web sites:
Artists in Canada
The Dictionary of Canadian artists
– scroll down to find the entry.

Article Bibliography:
“9e Biennale International d’Art Miniature. Essence.” Vie Des Arts no. 211 (2008): 25-31.

Adlmann, Jan Ernst and Barbara J. McIntyre. Contemporary Art in New Mexico Craftsman House in association with G + B International, 1996.

Beaulé, Marie-Eve. “L’Appropriation De l’Espace Collectif Comme Relation Avec Le Spectateur Chez Armand Vaillancourt. the Appropriation of Public Space as a Form of Interaction with the Spectator in the Work of Armand Vaillancourt.].”INTER no. 111 (2012): 87-88.

Biron, Normand. “Fragments De Vie Fragments of Life].” Vie Des Arts no. 197 (2004): 44-46.

Bissonnet, Gilles and Michel Fournier. “L’Urbaine Urbanité: Convivialité Et Espace public/Social Interaction and Public Space.” Espace no. 64 (2003): 15-20.

Bouchard, Marie Ginette. “Eclosion Du Land Art Au Mont-Saint-Hilaire. the Blossoming of Land Art at Mont-Saint-Hilaire.].”Vie Des Arts no. 213 (2008): 89.

Chagnon, Johanne. “De La Destruction Dans La Performance Au Québec Destructive Acts in Performance Art in Quebec].”Esse no. 25 (1994): 72-87.

Côté, Nathalie. “Rebelle Gentleman.” INTER no. 108 (2011): 48-49.

Couture, Francine, Marcel Saint-Pierre, Serge Allaire, Jean-Pierre Latour, Rose-Marie Arbour, and Michel Roy. Les Arts Visuels Au Quebec Dans Les Annees Soixante: Tome Ll – l’Eclatement Du Modernisme the Visual Arts in Quebec Throughout the 1960s: Volume Ll – the Explosion of Modernism] VLB Editeur, 1997.

Durand, Guy Sioui. “L’Année 2001 De l’Art Actuel Au Québec Contemporary Art in 2001 in Quebec].” INTER (Canada) no. 81 (2002): 44-64.

Fisette, Serge. “La Sculpture, Ses Entours…/ Sculpture, Around and about..” Espace no. 70 (2004): 5-13.

Flaman, Bernard. “The Airport as City Square.” Blackflash 20, no. 3 (2003): 4-11.

Fournier, Michel. “De La Pure Et Dure Sculpture Avec Un Élement Fluide: Les Sculptures-fontaines/Basic Sculpture with a Fluid Element: Fountain-Sculptures.” Espace no. 64 (2003): 28-32.

Gauthier, Claude-Paul. “Matière à Musée Museum Pieces].” Espace 6, no. 1 (1989): 11-13.

Grande, John K. “Canada’s Natural Landscape: An all-Consuming Public Art.” Public Art Review 10, no. 2 (1999): 4-8.

———. “Entre Ciel Et Mer: Symposium En Arts Visuels Des Iles-De-La-Madeleine between Sky and Sea: Iles-De-La-Madeleine Visual Arts Symposium].” Vie Des Arts (Canada) no. 180 (2000): 53-56.

———. “Made in Quebec.” Circa (Ireland) no. 94 (2000): 17-21.

———. “Made in Quebec.” Circa (2000).

———. “Playing with Fire: Armand Vaillancourt.” Sculpture 23, no. 1 (2004): 48-53.

Harrison, Robert. “A Journey with Bricks.” Studio Potter 30, no. 2 (2002): 44-46.

Hébert, Natasha. “Mémoire Publique: Entre Le Permanent Et l’éphémère/Public Memory: Permanent and Ephemeral Works.” Espace no. 62 (2002): 27-31.

Heeney, Gwen. “Creative Brickworks.” Studio Potter 30, no. 2 (2002): 35-39.

Hermange, Emmanuel. “Artefact: Biennale.” Art Press no. 307 (2004): 73-74.

Kendall, Elizabeth Anne. “Home Away from Home.” Ceramics Monthly 52, no. 1 (2004): 48-51.

Lamarche, Bernard. “L’Enveloppe Du Musée Racontée the Tale of the Museum s Appearance].” Espace (Canada) no. 56 (2001): 25-28.

LaPointe, Nancy Frommer. “Medalta: Continuing the Legacy of Fire.” Ceramics Monthly (U.S.A.) 49, no. 7 (2001): 70-72.

Lebeau, Justine and Lise Lamarche. “La Pratique Critique De Lise Lamarche. Lise Lamarche’s Critical Practice.].” ETC no. 94 (2011): 73-75.

Lévy, Bernard. “Un Échec Quasi Total an almost Total Failure].” Vie Des Arts no. 196 (2004): 31.

Liss, David. “Gilles Mihalcean.” Canadian Art 13, no. 2 (1996): 81.

Matuk, Nyla. “Display of Public Art at Pearson International Airport’s Terminal One to be Determined.” Blackflash 20, no. 3 (2003): 44-45.

McEwan, Laura. “Public Artwork.” Pottery in Australia 42, no. 3 (2003): 34-38.

Newby, Rick. “Shrines for Potters.” American Ceramics 9, no. 3 (1991): 26-33.

———. “Spirited Variations.” Ceramic Review (U.K.) no. 184 (2000): 24-25.

Racker, Barbara. “Robert Harrison’s Gibson Gateway.” Ceramics Monthly 43, no. 1 (1995): 42-43.

Trudel, Marianne, Jean-Louis Lebreux, Christine Lebel, and Julie-Anne O’Neil. “Destinations Insolite: De l’Habit à tibi/Le Paysage apprivoisé/Rendez-Vous Avec Breton, Pellan, Borduas, Rozet, Tartre Et Quelques autres/Métamorphoses/Une Édition Hautement Vibratoire. Out-of-the-Ordinary Destinations: From l’Habit à tibi/A Tamed path/A Rendez-Vous with Breton, Pellan, Borduas, Rozet, Tartre and others/Metamorphoses/A Highly Vibratory Event.].” Vie Des Arts no. 219 (2010): 85-88.

Zaccardelli, Gé and Marie Ginette Bouchard. “Les Détours De l’Été. Summer Detours.].” Vie Des Arts no. 215 (2009): 69-74.


9 Responses to Vaillancourt

  1. Doobwa says:

    Very interesting!

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  3. Ben Boswick says:

    This was the first bit of art that I noticed on campus, it still grabs my attention today.

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  5. Lindsay Mamchur says:

    Having walked past this so many times, I assumed that since it is near the science buildings it was an actual piece of volcanic rock put on display for all the scientists in the area. Then I saw the QR code and realized it was a public art piece! You learn something new everyday 🙂

  6. Lindsay Mamchur says:

    Having walked past this many times, I always assumed that since it is near the science buildings, it was a piece of volcanic rock put on display for the scientists in the area. Then I saw the QR code and realized it is a public art piece! You learn something new everyday!

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