Born and raised in Montreal. I consider myself a cultural product of the cold-war, space-race, and oil embargo era. I took an early interest in art and technology at a very young age. I can even remember making a gas mask in art class out of cardboard at the age of nine. I built a satellite out of scrap wood and found objects in the family back yard one Summer, only to realize decades later that I was actually making sculptures, similar to those cargo-cult tribes fashioning single-engine airplanes out of straw; there was a naiveté to it.
Later on, in the 1980s, I studied painting and sculpture in Montreal, I then lived two years in Houston where I was invited to work as an artist in residence as part of a program setup by their museum of fine-arts. Since my return to Montreal in the late 1980s, I have been continuously developing and nurturing themes and styles that are tstudio probehe Master key signatures of my artwork.
My work primarily concentrates on core subjects such as human mutations, apocalyptic landscapes, the cold-war stigma, the space-race, the techno/military/industrial reality, the supernatural, and hybrid techno-devices to name a few.  My work invariably is concerned with the incomprehensibly unhealthy, wasteful and destructive side-effects produced by a technologically driven, trapped and hypnotized culture. Thus, exposing as it were, the flip-side of our techno-triumphalist world. In the mid 1990s, though I still continued working in traditional media, I became very interested in and enamored with 3D computer animation. Through a convoluted path, I ended up working for Softimage, a well-known 3D computer animation software company. I consider that period to be my ‘Darth-Vader’ phase, as I lived and metaphorically ate computers/3D twenty four hours a day. I feel though that the 3D experience helped influence and push my art in a very different direction, and into a new paradigm.

I continue to live and work in Montreal…

Pierre Duranleau



Everything is Art Issue-V (p.67.)

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