Denis Juneau, born in 1925, was a prominent artist of the OP art scene in the 1960s in Montreal. After his studies in Italy, harmony and balance became essential to him and his mastery of them can be found in most of his work whether it be in the colors, the shapes or the general composition. He has recieved multiple awards and has exhibited his artwork in a great many cities including New York, Paris, London, Brussels and of course his hometown of Montreal.
Tasked with creating a promotional video for a potential exhibition “OP ART, The Vibrant Years 1960-1975” at the MAC, I decided to simplify his works to the elements he most often uses. The majority of Denis Juneau’s works are created with two contrasting colors and overlapping or repeated circles so it was only natural to recreate the same feel.
Most of my work consisted of making the key visuals which came from one of the main artworks of the exhibition (two cars crushing one another). The other areas I worked on were helping out on the page design and editing the final photos that were taken of the project.
campain\ 2022 - baillat studio
creative direction : Jean-Sébastien Baillat
art director : Gabriel Cance & Jean-Sébastien Baillat
graphic design : Gabriel Cance & Emma Chevillot-Versini
motion design : Jacob Newnham & Till Kraus
project manager : Samuel Gauvreau Des Aulniers
video director & producer : GRIDSPACE
music : Alain Thibault
artwork : Jonathan Schipper
documentation photos : Charles Spina (program) & Camille Dubuc (banner)
\ full case study on baillat studio
"Driven by mutation, this sixth edition of Elektra's digital art biennial explores the junction of the concepts of change, movement, evolution and migration. For the identity of the event, we have centered our graphic approach around anamorphosis, a process of image distortion that makes the normal strange. The main visual is a photo - distorted - of the BIAN's flagship piece, Jonathan Schipper's Slow-Motion Car Crash.
Conceived in three phases, the BIAN 6 campaign evolves over the course of the exhibition in order to renew itself and remain fresh to the audience. It is through this evolution that the anamorphosis really comes to life, as our perception of the two automobiles, red and blue, crumbles until we are no longer able to recognize them. The whole is superimposed with a typographic system and daring blocks that invites itself in the play of perception that characterizes the campaign." - Baillat Studio