Tatiana Demidoff-Séguin studied at the École d’art de Paris and Atelier d’Alger before moving to Quebec in 1962. Primarily a sculptor, she worked with aluminous cement, plastic, wood, sand, canvas and acrylic to create pieces that resembled set designs more than objects, their interacting elements as suggestive of theatre as of architecture. In addition to monumental sculptures and installations, she completed several projects for the integration of art into architecture and the environment that question the notion of matter while giving form to memory. These include Élan (1983) at the Centre hospitalier de Gatineau and Mémoire (1986) at the Chapelle Historique du Bon Pasteur in Montreal. Among her other works are La colonne du temps (1991) in the French commune of Combs-la-Ville and La place du temple (1990) at Place Félix-Leclerc in LaSalle. Demidoff-Séguin also participated in the symposium Rendez-vous international sculpture 84 in Saint-Jean-Port-Joli, creating Force from layered blocks of aluminous cement. Visitors were invited to leave personal items in the sculpture, which thus combined the individual and collective past and symbolized the passage of time and of generations. In 1986, the Musée national des beaux-arts du Québec devoted a major exhibition to her work entitled Remparts et boucliers (“ramparts and shields”).
SEE:
« Sculpture : Séduction ’90 : Un bilan » by Charlotte Gingras, ESPACE, vol. 7 #1, p. 37.
« La sculpture et le tout public » by Serge Fisette, ESPACE #67, p. 5.
