Pigment on cotton rag
Printed with archival pigment inks on 310gsm cotton rag paper — matte, lightly textured, no glare under a lamp. The colours are matched against the painting itself, not a screen.
Paintings & archival prints
Slow colour, held still.
I paint in oils and gouache from a studio in Montreal — quiet fields of colour built up in thin layers, then left alone. The prints are made from those paintings, on cotton paper, in editions small enough to keep track of.
Printed in Montreal
Archival cotton rag
Signed & numbered
Ships worldwide
Collections
Work grouped by what it was looking at
Each collection begins with a place or a season and grows from there — a handful of paintings that share a palette and a mood, rather than a single idea stretched thin.
[Collection title]
Ochre, rust and raw umber, painted through one long autumn. Fields seen from a train window, mostly.
[Collection title]
Gouache studies of things growing slowly — moss, seed heads, the green that survives a Quebec winter.
[Collection title]
Pale blues and greys, worked wet into wet. The quietest paintings I've made, and the hardest to stop touching.
From the studio
[Title of the painting]
This one took most of a winter. I kept taking colour out of it — scraping back to the linen, letting the weave show through — until what was left felt like light rather than paint. It's the piece I'd point to if someone asked what I'm actually after.
The original is [available / held for a show]. The print edition is [number] copies on 310gsm cotton rag, each one signed and numbered on the reverse.
- Medium
- Oil on linen, [dimensions]
- Year
- [Year]
- Print edition
- [Number] prints, two sizes
- Status
- [Original available / In a private collection]
The prints
Made properly, in small numbers
A print should look like the painting, not like a photograph of it. Everything here is proofed by hand before the edition is run.
Signed, numbered, finite
Each edition is capped and never reprinted at that size. Every print is signed and numbered on the reverse, with the title and year, so you know exactly where yours sits in the run.
Packed flat, shipped tracked
Prints travel flat between board, never rolled in a tube. Tracked shipping from Montreal, with duties and taxes calculated at checkout for orders outside Canada.
About
I paint the parts of a place that stay
I'm Emeline, a painter working out of Montreal. I grew up between [place] and [place], which probably explains why my work keeps returning to horizons — the moment a landscape stops being scenery and becomes a colour you can hold.
Most of what I do is subtraction. The painting is finished when there's nothing left to take away.
I work in oils for the large pieces and gouache for studies, usually several at once, letting each one sit for weeks before I decide whether it's done. Alongside the paintings I take on a small number of licensing projects each year.
Licensing & commissions
Work for walls that aren't yours
I license existing paintings for interiors, publishing and brand work, and take on a limited number of commissions each year. If you have a project in mind, tell me the space and the timeline and I'll tell you honestly whether it's a fit.