André Monet’s portrait collages capture a subject’s spirit and soul.

As part of our new Artist Feature Series, we will be collaborating with LUMAS to bring you stories of renowned artists from around the world. What inspired them to start on their artistic journey? How did they decide on their communication medium? What was the series of events that helped to propel their career forward? We aim to share the story of all the hard work that led up to the current point in their careers.

Our first feature artist is Montreal-based Artist André Monet. His pop-art style portrait collages will captivate your attention as you walk past because the eyes of the subject just seem fixated on you, engaging you in communication. The Canadian Artist has created stunning portraits of famous celebrities like Rihanna, Jay-Z, and celebrated actress Cate Blanchett. Not only does his artwork portray a human and vulnerable side of the celebrities’ personalities, but he gives more depth to his work by curating scraps of text, maps, and writing used in the portrait to tell the story of the subjects and their life achievements.

We had the pleasure of interviewing André Monet to learn more about his story. What inspired him to pick up a paintbrush? How did he select a gallery for his first exhibition? How does he handle criticism? Read on for his inspiring story.

P: Pendulum Magazine

A: André Monet

P: What initially piqued your interest to become an artist? Were you always particularly drawn to celebrity culture and discovering individual personalities?

A: I have always painted. My earliest memory is of my nanny showing me how to paint a mushroom and I couldn’t understand how she made something real appear on a piece of paper. I was hooked. Painting has always been in my life. I can’t remember a moment when my hands haven’t moved in that way. So, it’s always been there for me. As for portraits, I believe every generation has its icons. Whether they’re musicians, actors, politicians, or even other artists, these are people who are admired and revered. They impact society, fashion, music, the very idea of beauty, and our notions of aesthetics. I focus on the eyes, in particular, so once the piece is in your home, there is a sense of proximity with the icon.

P: Born and raised in Montreal, Canada, and also having studied art and graphic design locally, how did you break through your comfort zone? Was it ever your intention to become a world-renowned artist?

A: I worked in fashion, design, and advertising for many years. The entire time I was there, I continued to paint in my free time. First more abstract which was completely different from what I’m doing now. But I never stopped painting. Because I worked in fashion for so long, the idea of the iconic face was always front and center for me. It was everywhere I looked. It was power and beauty coming together. Eventually, my background in graphic design and fashion allowed me to create the texturized portrait. All the maps, stamps, and graphic elements I create for backgrounds are something you see people trying to imitate everywhere. But back when I put it together, I was the only one mixing fine art portraits with a structured and textured background. I knew I had something special, something different, so I dove right in. I left the world of fashion behind and focused entirely on painting. I knew people would respond. The intention was not necessarily to be world-renowned but it doesn’t hurt.

P: What was your biggest motivation to divest from the fashion and advertising industry and focus on art full-time?

A: I think for everyone there is a moment in life, a shift that pushes you towards what you’re supposed to be doing. I knew by the time I hit forty, I wanted to paint full-time but there was always more work. A new contract or a new project to take on. Then one day, the company I was working for announced it was downsizing. I was in a senior position and the bosses asked me to let everyone go on my floor and then, surprise, surprise, it was my turn. I packed up my office and walked out of there and straight into my studio. And that’s where I pretty much stayed for a year until I had enough work ready for my first show in Montreal, which ended up selling out in one day.

P: Your signature style blends a collage of old newspapers and books to create portraitures. How did you decide upon using these materials? How do they help you craft your message?

A: The texture you see in my pieces is something unique to my work. When I created it, I knew that I was putting together what would become my signature. My work as a graphic designer allowed me to create textured backgrounds that I knew would bring out the person being painted. The mix of classic painting techniques with a graphic background created what is now my signature style, a mix of old and new, shadows and light, color and darkness, maps, stamps, and newspapers, all working together to tell a story.

P: What is your thought process for understanding your subject’s personality? Why do you think the contrast between colors, light, and shadow can be an effective technique of revealing facial dramatic expressiveness?

A: The figures I choose are so iconic, most everyone has some idea of who they are. They fall into some form of mythology that connects them to the world. Everybody feels they know them somehow. From my David Bowie, to Muhammad Ali, the connection is there. The textures and colors I use serve to make the iconic images pop in a way they haven’t necessarily done before. The collage, the shadows, the light, the writing, are all positioned to focus the eye on different elements of the face. People aren’t one-dimensional, neither are my portraits.

P: What are the biggest learnings from your first exhibitions?

A: Preparation is key. I think a lot of people out there still have a hard time believing that art is work. An actual profession. Yes, it takes passion and, in most cases, a natural talent but to put together an exhibit, let alone a first exhibit, you need to be sure you know what you’re trying to say. The first show is your chance to introduce yourself through your work. When you’re an artist, who you are and what you paint usually go hand in hand. It’s better to take the time to work on more pieces and then scale down to the ones you think will have the most impact. Then, on the night of the show, grab a drink or two or three, shake some hands and cross your fingers.

P: What are the factors you consider when selecting which galleries you want to work with and where to host an exhibition?

A: It’s a rookie mistake to go with any gallery just because they will have you. Like in any business, there are some shady people around waiting to make a buck, even if that means stealing from you. You need to go by reputation first and then meet with the owners and make sure they believe in you and your work. That way you’re both equally invested in each other. Your success is their success and vice versa.

P: Can you share your journey about getting your work successfully in front of the Royal family? What were some of the challenges of this opportunity?

A: When I moved to London, I wanted to get into the Opera Gallery where it turned out Prince Charles is a patron. I had a sold-out show in their New York gallery and now that I was in London, I knew this is where I needed to be. It was right before Christmas and the town was still busing over the news of the upcoming royal wedding.

I bought a box of good chocolates and headed over to the gallery to make an introduction and wish them happy holidays. I handed over the box, had a great chat and before I knew it, I had a new gallery representing me. It just so happened, that gallery was working on the royal portrait and, well, I guess they really liked the chocolates.

P: Having read your biography, it seems that your career really took off after almost 3 decades in the industry.. What helped you persist over several decades?

A: While I worked in fashion and advertising, I painted mostly for myself. I opened a gallery with one of my best friends, another artist Sylvain Tremblay, and we did that together for years. I was never ready to show my work until I had time to work on a first show exclusively. I needed that time and that headspace to really get it right. I never had that time, and then when I did, that’s all I focused on. I took on a few consulting contracts here and there to pay the bills but the focus was art.

P: Do you believe it’s possible to be successful in this profession without being lucky enough to encounter influential people, such as Halle Berry, who helped you launch your career? Did these encounters play a role in how your career has progressed?

A: I think I have had some pretty incredible luck in some ways. I never actually met Halle Berry when she bought my piece but I was lucky in that her boyfriend was living in Montreal and she happened to walk by the gallery window the day before my first exhibit. That’s where she saw my Yves Saint Laurent piece (one of my favourites) and she bought it. That sort of set the ball rolling in terms of media coverage and such but the first show sold out all on its own before the word got out about the Yves Saint-Laurent. I think it's a mix of skill, opportunity, and yes, luck. Of course, the more you sell, the more people want your work, and then the more you end up in the media... and so the cycle goes. But the first thing is talent and something you own, you created. It can be imitated yes, and mine certainly has been, but you need to know that nobody else can do what you do.

P: The interpretation of art pieces and how each person resonates with an artist’s message is quite subjective. Over the years, has there been criticism that has impacted you? Do you have advice for other artists who may be coping with similar struggles?

A: Well first, when you’re an artist, you know going in not everyone is going to like what you do. The cliché of the sensitive artist exists for a reason. You can put weeks of work into something and then no reaction or worse. So you need to develop thick skin on that end.

My work has been called too commercial, too pop, too easy... from people who think I’m taking photos and not actually using my hands and my skills to paint my pieces. But what people don’t know and don’t take the time to figure out is not my problem. You need to keep your head down and work, any hate your way should be used as fuel to move forward. Copycats are just that and they can push you to evolve where they can’t reach you. Competition is fierce.

P: In your opinion, what were some of the greatest turning points in your career? Thinking back, would you have done anything differently?

A: Speaking of opinions... well, I don’t think regrets do any good. They’re more lessons for the next time around, so that’s ok.

As for turning points, I think taking the time to prepare my first show and trusting that this thing I had created would speak to people was key. Painting is a solitary world, you spend a lot of time with yourself, up close and personal with your work. You look at every brushstroke, every line, every detail alone. Your eyes on your work. There are moments you think this isn’t right, this is no good. But it’s precisely in those moments you need to trust yourself the most, or nobody else will.

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