Peter Gnass attended the University of Fine Arts of Hamburg and the École des beaux-arts de Montréal and was introduced to engraving as a student of Albert Dumouchel. In 1969, he completed an internship in Elliot Lake, Ontario, where he experimented with new techniques in foundry. He has created several architecturally integrated works, notably at the Canadian Pacific-Cominco Pavilion of Expo 67, the LaSalle subway station in Montreal and Théâtre Maisonneuve in Place des Arts. He has also produced theatre sets, including for Ionesco’s Macbeth at the Théâtre du Nouveau-Monde in 1973, and participated in symposiums such as the Symposium d’Alma in 1966. In 1977, he held a solo exhibition at the Musée d’art contemporain de Montréal entitled Progressions, which featured linear, three-dimensional objects. His subsequent shows have used photography placed in an analogical relationship with three-dimensional components and found objects to examine the intricate connections at play in the transposition of ideas.
SEE:
« Peter Gnass : Morceaux choisis » by Louise Poissant, ESPACE #24, p. 44.
« Des chantiers en déconstruction » by Gilles Daigneault, ESPACE #71, p. 28.
« Was Quebec’s Cultural Revolution Accomplished by Tossing Art in the Trash? » by Fabien Loszach, ESPACE #89, p. 12.
