This drawing belongs to a series begun in the mid-80s that expresses the sculptural and performative preoccupations of the artist, this time in a most oneiric pictorial space in red and black. Each drawing is a graphic improvisation that responds to associative impulses while remaining within theoretical tradition. They could be seen as illustrations of inexistent poems in which images precede words, leaving us mute or speechless. The title of the work makes reference to two extremely passionate women: Juliette Dufour, the artist’s godmother and dressmaker, and Giulietta Masina, an actress and the wife of Italian cinematographer Federico Fellini.
Born in Montreal, François Morelli earned a Bachelor’s degree in Fine Arts and Drawing from Concordia University in 1975. He has developed conceptual strategies for feeding pigeons, documenting the trees in his street, interpreting flypaper, and walking with canvases attached to the feet. From 1975 to 1981, he worked as a cartographer, designer, and cook. He lived in New York from 1981 to 1991, earned a Master’s in Fine Arts from Rutgers University in 1983 and has been a professor at Concordia since 1996. In 1993, he received the Prix d’Excellence at the Biennale de dessin et d’estampe d’Alma, and in 2007, Ville de Montréal’s Prix Louis Comtois. He pursues a multidisciplinary practice (drawing, engraving, installation, performance, and sculpture) marked by a questioning of the status of the object in the creative process and the perception of the work. He is fascinated by the notions of passage, circulation, and transformation.