Jodoin’s skilled usage of colour and composition are reminiscent of the masterpieces created by 19th century Romanticist painter, J.M.W. Turner. On top of her stylistic affinities for the artwork of the Romantic Period, Jodoin also incorporates techniques from the same timeframe, painting on linen as opposed to canvas and using rabbit-skin glue to help stretch her surfaces. While oil is the artist’s medium of choice, her body of work also comprises watercolours, sketches, sugar lift etchings and aquatints.
France Jodoin’s declared interest in the conception of Otherness, more specifically, other places, other times, other people, even other species, all are watched over with care and intimacy in her latest works. She achieves this timely presence of the Other by treating paint, a fluid medium, as the elemental force driving her narratives, in which mere depiction defers to an atmospheric quality that invites the eye to linger and into which the viewer then becomes enmeshed and implicated. While France Jodoin’s subjects often include seascapes, landscapes, scenes of daily life, peopled beach scenes, harbours, boats - both moored and on the water - as well as flowers, apes, monkeys and gorillas, her deft, gestural handling of paint renders these with a distinct and contemporary sense of presence inspired by “the very brevity of life itself.”
The notion of Otherness is very much tied to socialization and just how identities reflect the way individuals and groups internalise established social categories. These categories shape our ideas about who we think we are, how we want to be seen by others, and the groups to which we belong. Jodoin’s Otherness series probes its viewer to ponder their impressions of how they associate or disassociate with the crafted scenes before them. One manner in which this is done by Jodoin, is through her inquiry into history, wherein which she uses the past as a perspective with which to awaken the Other. Jodoin consciously constructs mise-en-scènes so that the contemporary viewer may conceptualize their own signs and stories from the layered marks, washes, wipes and drips of the canvas. The inherent ambiguity in her compositions allow for introspection whereby viewers can decode the details of her paintings through the scope of their own experiences. In her own words, “The fundamental impulse animating my creative process is to esteem time passing.” The acknowledgment of time in Jodoin’s pieces can therein evoke feelings of nostalgia, longing, remoteness and mindfulness.