Source: WTL© photograph from Pierre Gauvreau; Passeur de modernité. Québec: Musée de la civilization, 2014, p. 113.
Image: Janine Carreau and Pierre Gauvreau, "Humeur neigeuse" [Snowy mood] (2006). Acrylic on eight cardboard pieces.
Comments: Gauvreau and Carreau jointly created this works; four of the triangles were created by one of them and four by the other: they don't reveal whose pieces are whose. Gauvreau created many works in this fashion with a number of different people, some of whom, like Carreau, were professional artists and others who weren't. Gauvreau called the product of this (semi-)collaborative creative process a "cadavre exquis" [exquisite corpse]. Another note about this title and the title of all his (and her) paintings: singly or together they took a long time finding a title that they felt fit the canvas best.
Here is what Pierre Gauvreau said about the "exquisite corpse experience":

"As for me, what I find interresting is the rapport that are created between two artists when making a cadavre exquis. You say: half is made by one artist, the other half by the other artist, but the whole is made by whom?
When you look at the canvas, you don't have the impression you're looking at something that's divisible. There's a unity in it.
One runs the risk vis-à-vis yourself when you decide to make a canvas with another painter. One runs the risk of not being up to the level of the other artist. It's healthy, it's stimulating."
(translation from French by WTL; Pierre Gauvreau; Passeur de modernité, p. 131)

Humanities Question: Knowing that this is modern art, do you see this work as mainly a unified (or harmonious, or deliberately unharmonious) whole--modern though it is--or do you think it fails to achieve the "healthy" wholeness Gauvreau talks about? Explain your answer.