Yoakim Bélanger was born in Montreal in 1977. Trained in graphic design at the Cégep du Vieux-Montréal and at the Université du Québec à Montréal. Bélanger chose photography as his first means of expression. These professional experiences in graphic design, photography and video have guided him to painting. Inspired by the world of multimedia, the pictorial approach of Yoakim, Bélanger is modified, interrelated. For him, there is no longer any boundary between the different mediums, interacting with each other. All the skills and acquired tools are used. We are no longer in a dissociative universe, but rather an associative one. This is precisely what gives his originality to his painting, whose most obvious singularity remains his supports in steel plate, damaged by time and rust, the works already the first traces textures of the work. The inspired artist begins a silent dialogue with the metal and deciphers its secrets.

These recent works explore more specifically the nude, the symbol, the body, the interior of the soul or body object? The recovered steel plates on which the bodies take shape brings us back to the mystery of our becoming: who are we? Yoakim Bélanger tries to create a new order of balance of the subject in the space of his support. He likes to work in contrast and this is perhaps what confers to his paintings this impression of scenic space where the elements clash in their own paradoxes those of the shadow and light, abstraction and figuration , Of mind and matter. "I use the human body as a prism of emotions, colors and light that is not afraid of contradictions. "Yoakim Bélanger experiences, sees and creates vibrant tributes to life.

He works according to photos, framing is paramount to get to energize his subject and he applies himself to it in priority. The occupation of space in painting is for him a living space.
The acrylic, the ink used by transparency and the varnish contribute to the emergence of an alchemy with metal. The graphic trait which appears here and there in a certain picture is the metaphor of the human structure, this parallel double temporality when the spontaneous, which escapes forms, the informal becomes the amorphous and when the stagnant is confused with the current of life: movement. Moreover, its shapes, which one would say carved in rock, defy time and the random. His human faces and refined staging remind us of the sacred dimension of life. It opens a passage to change through a reconciliation of the many facets of being.