UQAM : VISUAL ARTS, FASHION AND DESIGN GRADUATES
CELEBRATING EMERGING CREATIVES
THE BLOSSOMING OF CREATIVES
Weither we like it or not, spring calls for graduation. For many people, including myself, graduation is a catalyst of nostalgia and anticipation, but it also asks for reinvention and independance. In my opinion, creative graduates are masters of the art of this spring blossoming. Over the span of two weeks, The Université du Québec à Montréal’s (UQAM)
departments of Visual Arts, Fashion and Design all held graduate exhibitions revealing their most recent work to the world. And I must say these events offer a rare glimpse into the creative pulse of a new generation; redifining the frontiers of art, fashion, and design.
In a time when creative industries are being reshaped by social, environmental, and technological shifts, the work of emerging artists matters more than ever. It challenges conventions, legitimizes diverse perspectives, and proposes new modes of expression that speak directly to the complexities of our age. To me and many others, supporting this talent is not only a cultural imperative : it’s a way of shaping the world to come, inviting us to reflect on the futures being imagined from within these spaces of creation.
VISUAL ARTS
The first of this triptych of exhibtions was PASSAGE À DÉCOUVERT, celebrating the works of Visual Arts Graduates. Set on the 24th of April, at La Galerie de l’UQAM, I was first struck by the amount of people present. Displaying the strength of this community, the newcomer is forced to engaged with this effervescent energy, which some might qualifiy of overstimulating. As the labyrinthic environnment calls for exploration, I noticed that the floor also served as exhibition space ; many artworks were closely co-exisiting with the public, nurturing a sense of intimacy not only with the pieces but by extension the artists. I must say that this spatial arrangement was a defining element of the exhibition, not subscribing to the conventional museum approach and seemingly breaking the distance between art and public.
While the diversity of mediums was impressive, I particularly appreciated the sculpture and installation works as they seemed to embrace the space organically. With textile, terracota and metallurgy, the artists seemed to revisit traditional relationships to artisanry, translating a contemporary vision into it. The work of Lhasa Simard, amongst others, celebrated artisanry through a sober design but overall carefully orchestrated spatiality. Ingeniously presented, the minimalism of each piece was celebrated and the generally polished look seemed very inviting.
While the diversity of mediums was impressive, I particularly appreciated the sculpture and installation works as they seemed to embrace the space organically. With textile, terracota and metallurgy, the artists seemed to revisit traditional relationships to artisanry, translating a contemporary vision into it. The work of Lhasa Simard, amongst others, celebrated artisanry through a sober design but overall carefully orchestrated spatiality. Ingeniously presented, the minimalism of each piece was celebrated and the generally polished look seemed very inviting.
FASHION
I thought the fashion exhibition would present the most familiar content since I know a few people from the program and have been following their projects from afar. However, I’m glad to say that I was taken back by the quality of the work presented, showcasing the depths to which to the art of fashion can go to. Weither it be through editorial projects, curated work or complete design, many pieces illustrated just how much works goes into this industry that we consume more regularly.
The event displayed two types of projects; marketing and design. One one hand, fashion marketing students showcased some fascinating editorial projects such as SENKA and FM magazine. While both stem from the creative genius of their well-rounded teams, SENKA elevates Montreal’s lifestyle fashion content while FM presents a more sociological enquiry on the complementary worlds of fashion and music. Both projects are around 100 page long, and are the result of many hours of artistic direction, set design, fashion styling, photographic documentation and editorial commentary. Safe to say I was more than impressed with the work of these young creatives, who successfully delivered some avant-garde yet accessible publications. Ultimately, this made me appreciate the shifting return to print, as we grow tired of navigating through the endless sea of digital content.
On the other hand, the fashion design student hosted a one-hour long fashion show, showcasing most of the graduates’ collections. As it was my first time being in the runway’s audience, I found fulfiment in what seemed to be a humanizing experience of the fashion industry, through a celebration of authentic craft and event coordination. Every collection was entirely assumed by one of the graduates, reflecting on personal themes of self-discovery or displaying a more engaged tone to their garments. A highly sensory-driven experience.
DESIGN
This year, I’ve realized that the boundary between art and design is often blurred, yet still essential. While art exists for expression, design operates at the intersection of intention and function. As both disciplines can provoke, move and question, design is rooted in use : solving problems, creating systems and shaping everyday experiences. This dual nature, combining aesthetic sensitivity with structural logic, is at the center of the Annuel de Design, an event showcasing the UQAM’s Centre de Design graduate work since 2015.
This ambitious event is spread across the entire four-story design pavilion, transforming the space into a living map of contemporary design practices. Divided into sections ranging from textile and environmental design to architecture, industrial design, and more, the exhibition revealed the full spectrum of design today. It is safe to say that the anticipation levels were high, as the entire four-story building was packed with visitors.
A special mention goes to the graphic and editorial design rooms, which stood out to me for their inventiveness: delicate calligraphies inspired by metalwork, handmade books that elevated traditional craftsmanship, and visual layouts that blurred the lines between text, image, and space. These projects didn’t just communicate, they shaped meaning through structure and materiality while catching the eye in an appeasing way.
Visiting the Pavilion, what resonated the most was the sense of possibility pulsing through the work of these young designers. As the global creative economy increasingly values cross-disciplinarity, sustainability, and cultural nuance, the voices emerging from the Centre de Design de l’UQAM feel particularly timely and necessary. Now standing as the biggest design fair in Canada, the Annuel isn’t just a celebration of student work; it’s a signal that the future of design is being built right here in Montreal.
WORDS: Solveig Wilson Carrier
@solveigcarrier
@solveigcarrier
2025
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