Fer à tête de chevreuil

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Year Created

2002

Year Acquired

2004

Cultures

Canadian

Medium

Metal, Wood, Iron, Plastic

Art Forms

Assemblage

by: Anne-Marie Sirois

Anne-Marie Sirois

Her passion for animated film led her to take professional training workshops given by Pierre Veilleux of the Montreal bureau of the National Film Board. This was where she created her first animation film, Les joies de Noël, in 1985. A second animation film, L’avertissement, produced by Coopérative Cinémarévie in Edmundston, New Brunswick, was released early in 1986.

Following a training period in animation in Marly‑le‑Roi (France) in the summer of 1986, Sirois created Maille Maille, at the Moncton office of the National Film Board. This animation film received an award of excellence at the Atlantic Film and Video Festival in Halifax, Nova Scotia, (1987), and a Silver Apple Award at the National Educational Film and Video Festival in Oakland, California (1989). She was a participant in several other animated films including Jours de plaine (1990) and T.V. Tango (1992). In 1996, she travelled to Croatia to present her film Animastress (1994) at the Zagreb World Festival of Animated Films.

Based on a song by Acadian band Zéroo Celsius, Joséphine won the prize for best Acadian film at the 2000 International Francophone Film Festival in Acadia (FICFA) in Moncton. The following November, Sirois was recipient of the Éloizes Award for artist of the year in the film-video-television category, given by the Acadian Association of New Brunswick Professional Artists (AAAPNB). In 2003, she completed her first experimental animated film, PSSST, in partnership with Acadian percussionist Michel Deschênes.

Sirois also works as illustrator and writer and has published three tales. She brought Le petit Chaperon mauve (1995) to Picardy, in France, on a tour of school visits. Her second tale, Rose Neige et les six nains, was published in 2000, and a third, Ma Gribouille tigrée, in 2005.

In the spring of 1995, Anne‑Marie Sirois began making sculptures with clothes irons, and has shown them in several New Brunswick galleries and in Montreal. She transforms these utilitarian objects through a variety of pointed interventions. Her fertile imagination serves the artist well in bringing forth an unusual, poetic and playful universe, rife with humour and whimsy.

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