Louise LeCavalier

When we think of an artist with refinement and in search of perfection, the name of dancer Louise Lecavalier[[more]] immediately comes to mind. For over 30 years, she has traveled the world and showcased contemporary dance in the most outstanding ways. The strength and power of her choreographies will not leave anyone feeling indifferent. Having been awarded the insignia for the Conseil des arts et des lettres du Québec, on the institutions 20th anniversary, was a well-deserved honour for the dancer. This distinction underscores her work and her lifelong passion for dance. “I have the impression that there are a lot of things that I have yet to do. It’s a constant search that allows me to get to know myself a little better. I still get a lot of pleasure from dancing. I was 18 years old when I was with La La La human steps, Édouard Lock’s company. Being able to pursue my own projects today allows me to approach the field differently.” She who has danced alongside Frank Zappa, who has accompanied David Bowie on tour, and who has won international distinctions for her latest choreography “So Blue” (2012), knows now, more than ever before, how to avoid the difficulties of stress and handle the public’s growing expectations. “It is true that it can be scary, but I know myself better than the public does. My personal expectations are even greater than theirs, and I am very uncompromising. The public is more forgiving towards me than I am to myself. That is my way of evading the pressure. But that isn’t negative; I see it more as an opportunity for discovery. This is a chance to persevere. I remind myself that I do things because I choose to do them. If I didn’t, I would be terrorizing myself in the studio while creating, or doing nothing at all.”

For an artist who relies on the power of movement, Louise is surprisingly fascinated by the photographic process. “I love photography. It is so lively; the photograph is in motion. It doesn’t contradict dance. Sometimes the photograph has even more movement than in dance. We think that with film we see all the movement, but the photo succeeds at capturing a dramatic moment, an intensity, a force. The camera is a person; it is a public; it is an encounter with the other and with the self. I am fine in front of the camera. In fact, I am even more lively when there is one. For this photography project, which features Gloria Bass’ jewellery, I was in a white box. Being in such a small space imposed constraints on my pose. I couldn’t see anyone, and I could only hear the voice of Sylvain Blais. It was very strange and disturbing. I like working in a very technical environment where one must be at the service of the lighting and the photographer. I loved the harmony between the clothes, the jewellery, and the camera.”