Video Summary - Ep #05: Visite studio avec Stéphanie Rivet

Summary of the studio visit (creative/artistic techniques & concepts)

The episode visits Stéphanie Rivet’s studio on Quebec’s south shore.
Her work is described as “pure abstraction,” using a broad palette, strong color contrast, and highly energetic brushwork.
Although she is mostly working in abstraction, some series include occasional figurative elements (for example, “mountain” shapes).

The conversation emphasizes how her studio is organized to support her workflow:

She distinguishes between:
- an administrative office area (emails, logistics), and
- a creative workspace.
The studio is described as spacious and loft-like, with high ceilings and large windows.
- This helps her stay inspired and “chill,” while she can observe her paintings.
She stresses making the space functional from the start, including placing materials to support her creative “flow.”

She works on multiple abstract series at once, building each work through layered techniques:

Start with a background first.
Add paint layer by layer.
Add marks using a large brush, focusing on gesture/movement.
Use thin-layer acrylic applications for delicate motion.
Use a spatula to add texture and more sculptural/raised effects.
Mix colors directly on the canvas during painting.
Sometimes combine two or three techniques in the same work to evolve the final look.

She notes a shift in recent years toward a more varied practice, working on several series simultaneously.
A previously dominant linear style is described as revisited and reworked after many years.
Some works are referred to as “force styles” because they resemble weapons (also compared to forests), created notably with a spatula.
A “mountain series” remains abstract even when mountain forms appear, connecting to landscape memory and imagination.

She primarily uses acrylic paint.
Her oil experience is brief:
- She tried oil in high school but adapted quickly to acrylic for practical reasons.
- She prefers acrylic because it supports her layering without long waits.
- Oil is described as slower since layers must dry longer.
She views acrylic as emotionally responsive—and “perfect for abstract art”—because it produces results quickly.

She references a long career path:
- She worked as a mathematics teacher while painting for years.
- Eventually she left teaching to paint full-time; later, galleries expanded enough to allow her to live off her art.
A turning point came when she stepped outside her comfort zone:
- She expanded into more figurative work (including animals),
- then returned to a deeper exploration of abstraction.
She frames abstraction as freedom—in it, she feels able to do what she wants and avoid constraints.
She also emphasizes reconnecting with herself and the pleasure of painting, especially after periods of intense, gallery-driven momentum—when she feels it’s important to slow down.

The host and artist end by focusing on watching her paint.
She describes the process as intuitive and “from A to Z,” with no fixed plan—emphasizing improvisation and flow rather than a pre-designed structure.

Apply a background layer.
Build the composition layer by layer.
Add marks using:
- a large brush for gesture movements,
- thin acrylic layers for delicate movement,
- a spatula for textured, raised elements.
Mix colors directly on the canvas during the process.
Optionally combine multiple techniques within the same piece.

Stéphanie Rivet (featured artist)
No other individual creators are explicitly named in the subtitles beyond the host/producer implied by “we” and “the invitation.”

Bloom Gallery (Montreal)
Canv Gallery (Toronto)
Adel Campbell Fineart (Whistler)
Her website, plus Instagram and Facebook (no additional creator names given).