"Cousin Fifi Inferno, 1999" Painting

Biographical Background

Napoleon Brousseau is a contemporary Canadian artist known for his diverse practice which spans across multiple mediums including painting, digital art, installation, and film. Here's a summary based on available information:

Biographical Background:
• Education: Brousseau graduated from the Ontario College of Art and Design in 1976. He also completed his education at the Canadian Film Centre's Media Lab in 2001.
• Early Career: In 1979, he co-founded the Fastwurms, an art collective that was active for ten years, presenting installations and films internationally, including in Canada, the USA, Europe, and Japan. He left Fastwurms in 1991 to travel and exhibit his work independently in Southeast Asia and Europe.

Artistic Work:
• Mediums: Brousseau works in various mediums, showcasing his versatility. His works include eco-political paintings, digital portraits, video, and film. He's particularly noted for his site-specific installations that incorporate technology like cell phones.
• Notable Projects:
◦ SEED: This project involved interactive art where participants could grow virtual trees via cell phones, co-developed with Gabe Sawhney and Galen Scorer, and presented at various international venues including the Scope Art Fair in NYC, the Winter Olympics in Whistler, Canada, and the McMichael Gallery in Kleinberg.
◦ Augmented Reality: Brousseau has utilized augmented reality in his art, notably in exhibitions at Angell Gallery in Toronto, where viewers could interact with his work through apps to access additional content like texts, web links, and videos.
◦ Exhibitions: His work has been featured in solo and group exhibitions, including at the Angell Gallery, Robert Kananaj Gallery, and as part of the "SIMULATORS II" show which highlighted digital art.

Artistic Philosophy:
• Brousseau's art often explores the intersection of technology and art, the distortion of representation, and the transformative potential of liminal spaces. He emphasizes sharing his methods and experiences, particularly with younger artists, to demystify the art-making process.

Recognition:
• His work has been reviewed positively, with one notable mention in The Globe and Mail in 2003, describing his exhibition "Brewsoul" as both thrilling and chaotic in its exploration of metaphysical and imagistic themes.