As mentioned, during these contributions to her biography, I will offer you ‘’free quotes'' from Monique without mentioning it each time. But, and here I quote my own grandmother, who once suddenly exclaimed: ''You two always have something to tell each other, you never stop.’’ Indeed, Monique and I have interacted, discussed, exchanged continuously all along our twenty-five years together including the first year that ‘’wee got to know each other’’. What my grandmother said has never faltered. Besides, I must confide to you that when she had just died, perhaps even the next day, one of my first reactions among all those that I felt was to exclaim aloud alone in the house, ''but we were not finished! ! !'' So, you understand that my ''free quotes’’ are very, very close ''to what she actually said.''
Note: You will notice that at the start of the biographical entries, I will tell you the age of Monique of the year in question. There will be two dates: ''before'' and ''after'' her birthday which is July 3.
Her father, Albert Jarry, was the youngest of seven children. He was born on Thursday, May 15, 1924. He and his family lived on Boyer Street in Montreal. His father, the grandfather of Monique, who also had built the house, was a stonemason. Monique told me that her grandfather was, like most Jarry, very tall, thus the house was built ‘’out of standards'', that is to say, amongst other things; the door frames were higher than normal. Albert, Monique's father was the ''smallest one'' of his brothers and was 6 '1''. Monique also told me that her grandfather had died of the ‘‘stone-cutter disease'', obviously a pulmonary disease. She told me also that he was a proud man, very proud and towards the end of his life he refused to get up, not wanting to be ''assisted'' and preferred to let himself be served hand and foot in his bed that he never left. Monique, who was small at that time, less than six years old, considered that he was wrong to put the whole family in such a state of ‘‘slavery’’. What fascinated her the most was: ''His beautiful clear blue eyes, almost transparent.''
Monique's father, on her birth, worked at Canadair, then later he became a firefighter in the city of Montreal, his brothers were all either firefighters or police officers. Albert was the co-founder of the firefighters union and a lieutenant. Monique told me that he could not become a captain because he was head of the Union. Her father died August 31, 1984. Her memories of her paternal grandmother are vague. She remembered that she
was a big woman and she had a green wart on the side of a nostril and that she was ugly. Also when her mother sent her ''down'' (Monique and her family lived on the second floor of the house) for one thing or another that it sometimes happened during the recitation of the ‘’Rosary’’ on the radio, so she was forced to kneel down and ‘’recite the rosary '' with her grandmother. Like Monique said, ''That was not the religion that my mother taught me and what was practiced in our home!''
Her mother, Brigitte Noël, was also the youngest of seven children. She was born on a Monday, February 17, 1924. She and her family lived in the parish of Notre-Dame-des- Flots, Lamèque, an Island on the coast of the province of New Brunswick, they were Acadian. Her maternal grandfather built trawlers and schooners and also as Monique told me, he was a water-diviner and dream-teller. Here are two examples of what Monique told me about him-''The people on the island came to see him when they had a problem. My grandfather listened and would sit in his rocking chair to ''consider'' a solution, he seemed to sleep and then after some time he opened his eyes and gave them the answer that came to him in a dream. Also, other trawler builders came to him when it was time to drill the hole through which would go the rudder. It was a delicate operation because the smallest error in the angle would ruin everything and they would have to do it all over again. My grandfather was known for never making a mistake and judged the right angle by ‘’eye sight’’. He was good at theatrics, putting on a show, looking left then right, going under the ship to look underneath, then returning inside the ship and after an hour or so of these ''theatrics’’, he said solemnly: ' 'drill here, at this angle,'' and it was a success! What people did not know is that my grandfather went to see the ship during the night when nobody was there and using his instruments he calculated the trajectory required and gave himself discrete points of reference, cues, for the next day.''
Monique took pleasure in telling these stories and every time it made her laugh whole heartedly. Her grandfather died in 1974 during a visit to Montreal. It was winter and there was a storm and while crossing the street to fetch a quart of milk, he was hit by a snow truck. This made Monique very sad: ''I loved him very much and on top of that I had not finished asking him all sorts of questions about Lamèque and his life there and life in general. I felt isolated, deprived of a source of knowledge that could help me. I was even working on a drawing of a schooner that I wanted to offer him and he never got to see it.''
-''Another thing my grandfather did that I thought to be a bit special was that he ate yogurt and bread. My grandfather ate bread with everything, even with cake! He did not finish his bowl of yogurt, he left a small portion and poured milk over it, placed the bowl on the edge of the window and he’d have another bowl of yogurt in the morning.''
Her grandmother, Elisa Noël was a quiet woman who rarely spoke. Monique in her childhood went to Lamèque every summer. She said that: -''For me going to Lamèque was to go home it is when we returned to Montreal, at school and everything that I felt like I was visiting.'' -''My father was very strict, very ''overprotective’’ of his daughters. We were not allowed to get far away from home in Montreal, he strictly controlled are outings, but at Lamèque I was free to roam around the island freely.’’ -’’I worked upstairs in the attic with my grandmother. She carded old mattress, at the time, stuffed mattresses were made of wool, and I was in silence beside her, making my dolls. I know that my grandmother liked my presence even if she did not speak. She was pleased that her granddaughter was industrious and skilful; solid qualities for an artisan like her''. -''Once I made cloaks and hats for the cats of the house and after having dressed them I made them jump from a log of wood to another, with me in the middle a tree branch in hand to lead them, guide them to jump. They never sought to remove their cloaks and hats, or run away, according to me they liked our circus game. In addition, I had responsibilities: I went with a bucket on the beach and with a stick; I searched the sand for cockles that my grandmother made soup with them. I did not like the cockles, but the soup itself was very good, I passed on the ‘’things’’ to my mother who adored them. Also I was in charge of the chickens; it was my responsibility to feed them. I also remember that my grandmother had a small vegetable garden, the earth at Lamèque was very hard and I saw her circle the garden regularly to make the ground softer. But even at that, the vegetables were tiny; carrots were barely bigger than my little finger. That may be why in Montreal, in my yard, I circled the earth around the red ant holes that fascinated me so much. I wanted to help ...''
-''Aunt Hermance made butter in a churn and formed it in a wooden box made for that purpose. She also made soap in the yard with animal fat and lime, I think. It smelled bad and we children were not allowed to approach it; it was dangerous.'' -''Once at a party, my grandmother was in the summer kitchen, the floor was made of soil, and she was making ice cream, she was recognized for making good ice cream. I was in the kitchen, she had been gone for a long time, and then I heard her ask me to come and help. Once near her, she confesses that she had botched the ice cream, she seemed embarrassed. So she gave me some money and told me to quietly run through the fields to buy ice cream in the village without being seen.'' Again, Monique laughed good-heartedly about the pride and the attempt at deception of her grandmother. -''I also remember one summer when it was not in the plans to go to Lamèque because of my father’s works or other things, I do not remember. But my aunt and uncle who were going offered to take me to my grandmother and my Aunt Hermance. So one morning I sat on the porch with my little suitcase and waited patiently for the arrival of my aunt and uncle, who was the brother of my mother. Upon their arrival, my father went out on the porch and told them that I was not going, it was out of the question, and wished
them a safe journey. I was so disappointed and in tears. I still do not understand why my father waited till the last moment to indicate his disagreement; it was talked about several days in advance. He could have told me from the beginning, I would have been disappointed, but it would have passed. Why wait until the last minute like that, I was so happy to go and had been anticipating it for several days ... I find it very cruel to do that to a child.''
Her grandmother spoke with the accent and vocabulary of old Acadians. It happened a few times that Monique maintains a conversation with me by imitating it. Her ''performance'' was spotless, she had nothing to envy Viola Léger in her monologues, and it was also very amusing.
So, during the war, Brigitte’s parents decided to send her to Montreal to live with relatives; a Nazis war vessel had been seen in golf of St-Laurent, thus she would be safer in Quebec. She found a job at Eaton's and eventually met Albert Jarry. They married in August 1946.
There are other anecdotes and stories that I will tell you throughout the biography.
Before undertaking the biographical entries, I will recount to you a few anecdotes that are part of her life, but not ''dated''. These are perhaps not important ''facts'' in the sense of an official biography, but which nonetheless serve to ''identify'' to ‘’understand’’ a little bit what kind of person Monique was. Up to a certain point, when we recount some ones life how can we know exactly what was relevant or not for that person. How do we know what is valuable from what is commonplace for that person. I think that just in the fact that she told me these anecdotes and these stories, that she gave me the information means that she considered them relevant in her life, from the lighter ones to more serious ones. Who among us can certify that what is anecdotic is not an intrinsic part of what constitutes the reality, the composition of an individual and therefore characterizes the ‘‘uniqueness’’ of this person among all unique individuals who live and have lived. These negligible ‘’details'' that are largely neglected in ‘’official’’ biographies strips the person of his humanity and make of him or her a ''character'' listed alphabetically. While most likely the ''truth'' of a person cannot be stripped of those ‘’little irrelevant details'' that we simply call anecdotal.
In fact, I do not just want you to know that Monique has existed; I want you to know her. I think this will give you a clearer vision and a more accurate understanding of her works and writings.
… So Monique did not like dried raisins, it made her think of little gouged out eyes. She said: -'' What I found the most unfair when I was little is that my mother would make five or six raisin pies and only two apples pies; we were seven in the family. Even though I did not like shrivelled raisins, I was not allowed to eat more apple pie than the other!''
I think that the phrase ''chance sometimes makes good things happen ''applies here. I am not very fond of sweets and desserts. So, one might say that for twenty-five years, Monique had a practical ''monopoly'' on desserts in our house. She could afford to have a piece of apple pie or whatever, store the rest in the fridge and it was still there the next day!!! It was she who sometimes insisted that I eat a tip or a piece just ‘’to taste''.
-''I prefer ground beef steak. I liked to mash it in my potatoes. When we were forced to eat steak, I cut it into tiny pieces and chewed until there was no more juice, then I discretely passed the ‘’piece’’ under the table to our dog Sputnik; he asked for nothing better.
-''I have long struggled with blueberries. When I was small, barely tall enough to reach the top of the table, I was four years old perhaps, my mother had left a blueberry pie to cool, but near the edge of the table, I managed to catch it and then my mother found me sitting under the table eating the pie by the handful ... it made me sick! In consequence I was not very ‘’keen’’ on blueberries for several years. I know it is not rational to make a link between blueberries and stuffing myself but the impressions and images of childhood have unsuspected depth and are difficult to overcome.''
-''I remember my first skates; I still did not go to school. They were four-bladed skates; I loved them so much that I refused to remove them even in the house. They ended up breaking to my great regret.’’
-''My mother had made me a conical red skirt. When I turned on myself, it raised in a perfect circle. One time in the early evening, I put my skirt on and went out. I went to the skating rink, slipped on my white skates and fancied myself as a great ballerina figure skating. What I liked least was that it was very cold that night and I came home with my feet and legs frozen; for authenticity, I went bare legged!
-''I had a girlfriend who lived a few houses from my house. We played ball in her yard, it happened that the ball found itself in the neighbour's yard. She was not a very nice old woman and the mother of my friend had to politely ask the old woman permission for us to retrieve the ball. I was shocked to see the mother on a tone of supplication to ''give'' permission; I thought it was humiliating for her. Once the ball ended up in the yard of this old woman and I entered, I pounded on her flowers and recovered the ball. I must have been six or seven years old, finally the old woman complained to my father and the latter ordered me to go and offer my apologies, which I did. I apologized for having crushed her flowers, I already found it humiliating to do so but to my great
secret satisfaction, I did not apologize for having gone for the ball without her permission!''
-''When it was time to come home around eight o clock, my father would go out on the porch and whistled and he whistled so loud we could hear him a few blocks away. Once I was with my friends and we were jumping from a big cement block to another separated by a few feet. I took my swing and in the middle of my flight, the ''whistle’’ sounded, I lost my composure and landed against the other block of cement chin first. That really hurt! It went inside discreetly, pretending nothing had happened, without my father seeing me, and shut myself in the bathroom to cry and try to hide the beautiful bruise under my chin , hoping not to have to disclose to my father how it happened.''
-''Once I almost, with friends, was arrested for terrorism. That was in 1962 or 63, I do not remember exactly, but it was the time when F. L. Q. placed bombs in mailboxes. We were at the Miron quarry running here and there, having fun when a guard suddenly appeared, he challenged us and asked us what we were doing in a prohibited area, and that he would call the police. We were afraid. One of the boys with me had in his hands a slice of steak he was bringing home; a purchase he had made for his mother and the initial reason for our outing.
On our way back we passed through the quarry just to have a little fun before going home. So then, my boyfriend throws the slice of meat in the face of the guard and we ran away as fast as we could. A bit later, once I was home, I heard on the radio that the police were seeking suspects, minors, having been seen at the Miron quarry near the ‘’dynamite’’ warehouse! and that this could be related to the terrorist attempt that had occurred. Believe me; we never, never went to the quarry again, never! (Laughs)''
-''Regularly during high school, my friends and I went on long walks in the city, I initiated these hikes. During summertime it is barefoot that I undertook these walks, alone or with others. But in the winter we ended up arriving home with our feet completely frozen. I remember very well having cried with pain when it thawed. Once we even took refuge in one of the towers of the Jacques Cartier Bridge and to keep warm we burned a few leaves that the wind had managed to push in, we were so cold! I think it's after that time that my friends decided not to accompany me anymore on my ''great hikes'', but I continued to do them by myself. (Laughs)''
-''I remember once when one of my uncles was exasperated by my father, saying ''Albert! Do you hear yourself? ‘’Me my girls, I forbid them to do this, my daughters, I do not give them permission to do that'', you prevent them from doing everything! Albert! For the love of God! You, you… what do you want to do of your daughters?!?!'' It was to the point.
If he forbade me an outing I took him to task, stubbornly asking him the reasons for his refusal almost all evening long. He ended up by saying, ''because I said so!'' And I
answered, ‘’well, said something else!'' that sufficed to fuel the argument for a couple more hours. At least I had the satisfaction, since he had ruined my evening, to ruin his, making him miss his television shows or reading his newspaper. By contrast, if my sister Carole asked permission for an outing and if he refused her, she did not say another word, she just slipped discretely out of the house. She was always in his good graces and thus never loosing her status as his favourite, even though my father said regularly that all the children should be treated with ''equality''.''
-''One of the outings that he had prohibited was the evening and annual meeting of the J. E. C. (Young Catholic Students). At school, it was I who was responsible for organizing everything; I worked very hard to make everything perfect. When my teacher found out that my father did not want me to attend, she phoned him to convince him to change his mind, even the priest came to the house to talk to him, even telling him that I would not have to pay the five dollar entry fee because I had organised everything, he vouched for my safety. Nothing worked, my father remained adamant: Thus I was not able to attend the annual meeting. A few years later, in the eighties I think, it happened that I told this story to someone. He smiled and explained that most likely my father refused because he was in the union and in that period of ‘’the quiet revolution’’, unions were of the left and saw all these religious organizations as of the right and they were opposed. Come to think of it, I think that that explanation is very realistic, but can you imagine: involving a child’s activities in political issue!''
Monique Jarry’s Biography and CV in chronological order.
Note: These biographical contributions and entries in her C. V. are drawn from the sum of her biography that includes all the texts she wrote. You will find her writings on art in album 3 on this site, other writings are not included. Thus there are certain references in this bio / CV that will not mean anything to you right now. They will make sense when I finish the review and correction of the sum of her texts and eventually include them in this site.
***** (Biographical contribution: 1947
Monique was born on Thursday, July 3, 1947.
It amused her to say that she was born on the third of the month at 3 o’clock at Ste-Justine hospital in room no. 333. She added that her mother could not remember if it was three o'clock in the morning or afternoon, which left her musing that her mother did not remember if her first-born was during the day or at night. At that time, her parents lived in an apartment in Montreal North, and her father worked at ‘’Canadair’’.
***** (Biographical contribution: 1948: Monique is 1 year old.)
Her parents still live in Montreal North and Monique, the first-born is treated like a princess. Her mother makes all of her clothes and teaches her to speak. At nine months, Monique can already pronounce a coherent sentence. Her mother cares about accent and pronunciation; she does not want her daughter to have an Acadian accent or even a Montreal accent. When Monique enters school, all will think that she is French ''with an international accent.''
-''When I was learning to talk, I had great difficulty pronouncing the word ''rouge'', I said ''Roge’’, unable to make an ''ou'' after the ‘‘r’’.''
***** (Biographical contribution: 1949: Monique is 1 and 2 years old.)
There is nothing special to report.
Here, I insert myself in her biography to draw your attention, with a touch of humour, to the fact that I was born on Monday, July 11, 1949. At my birth, the future love of my life and I the future love of her life, had a 2 years and one week difference of age. Of course at my birth I had difficulty understanding what was happening to me, from dark to light, etc... and she was already a great lady ... I will finally meet her 29 years later when the age difference is less important ... Every time it came around to our birthdays, Monique was born on July 3 and I on the 11th, I teased her throughout the week because she was ''technically'' three years older than me. During that week I regularly called her, ''Mom'' which made her laugh while giving me a tap on the hand.
***** (Biographical contribution: 1950: Monique is 2 and 3 years old.)
There is nothing special to report.
***** (Biographical contribution: 1951: Monique is 3 and 4 years old.)
Tuesday, January 9, 1951, birth of Carole, Monique’s first little sister.
***** (Biographical contribution: 1952: Monique is 4 and 5 years old.)
Monique's father becomes a firefighter with the city of Montreal.
The family moved from Montreal North to go live on the second floor of Albert’s father's house on Boyer Street.
I think it's around at this age that Monique got ‘’hit’’ by a rake near the eye. She said of this event: -''I've always been afraid for my eyes, for a period I could not banish the image of me having an eye gouged out, like an obsession. This rake incident was my first traumatism concerning my eyes. Then there was the sever myopia and the car accident where my eyes were filled with tiny bits of glass and I had double vision, too.''
***** (Biographical contribution: 1953: Monique is 5 and 6 years old.)
Monique enters primary school at St. Ambrose.
***** (Biographical contribution: 1954: Monique is 6 and 7 years old.)
In spring 1954, Monique was 6 years old: first communion.
Monique is in second grade.
Tuesday, March 16, 1954, Lucette is born, Monique’s second little sister.
***** (Biographical contribution: 1955: Monique is 7 and 8 years old.
Monique is in third grade.
***** (Biographical contribution: 1956: Monique is 8 and 9 years old.)
Monique is in fourth grade.
''Since I was tall I had to sit in the back of the class. At one point during the year, the teacher scolded me because I was not following. This repeated itself several times, and then we realized I could not see the chalkboard. An eye exam revealed that I had ‘’acute myopia'' and they had to act quickly to quell the regression of my eyesight. Fortunately, they gave me a prescription and the decline stopped. A little later, I had contact lenses; at that time they were made of glass and on the first day, while examining them, I broke one. I was inconsolable. Fortunately, my father’s collective insurance, as a fireman, covered the cost. But I was so scared!''
***** (Biographical contribution: 1957: Monique is 9 and 10 years old.)
Monique is in fifth grade.
Saturday, December 28, 1957, birth of Sylvie, Monique’s third little sister.
***** (Biographical contribution: 1958: Monique is 10 and 11 years old.
Monique is in sixth grade.
She makes handmade dolls that she sells in the schoolyard.
She melts old broken crucifixes made of lead in her mother’s frying pan to make jewellery.
She is on the Concordia pool swimming team and earns a trophy for her third place finish in the breaststroke.
-''When I started, I could not swim, it's my mother that enrolled me, I was scared. The other girl’s on the team were at least three times bigger than me! My arms were strong, but I had trouble with my legs. I trained very hard and won my trophy at a local competition that took place at Brebeuf College!''
***** (Biographical contribution: 1959: Monique is 11 and 12 years old.)
Monique is in seventh grade.
Monday, July 27, birth of Marie-France, Monique’s fourth little sister.
Monique told me that it was in 1959 that she began to paint her first oil paintings. -''Garbage day, I walked around the streets seeking to recover blind canvases to make my paintings. Before that I worked with pencil or crayons, but especially with lead pencils and at school I was the one who drew the decorations on the blackboard: St. Francis, Father Christmas, etc.. " '
-''I remember that earlier in my elementary the teacher asked us to draw a ladder. She gave us step by step instructions that she wanted us to follow. I thought, once completed, the ladder was a little weird, but I was pleased to have followed the instructions exactly. The professor looked at my ladder and exclaimed that it was the ugliest ladder that she had ever seen! I had actually followed all the instructions, I was humiliated and hurt by her reaction, I cried two days.''
I point out here that during her years of primary school, Monique is ''sent'' regularly to the family doctor by her mother to receive an injection of ‘’Valium''. Monique said: ''I was a little girl, active and dynamic. I was not what is called today a ''hyperactive'' child but simply intelligent, full of questions and projects and I believe that my mother had her hands full with my little sisters and that she did that to make me more ''quiet''. Sometimes I used to sleep two or three days without going to school and the teachers never questioned me about it, as if they knew that something was wrong at my house. At that time, school officials avoided interfering in ''family problems''. When I had my ''sciatic nerve attack'' in 1969, the doctor told me that these injections in my growth stunted in some way the development of my nervous system and ‘’hinted ''that he seriously feared for my life expectancy in the immediate! Thus, I had to spend a few months resting in a cottage in the countryside with my boyfriend of the time, Maurice. It was his mother’s cottage. Everybody, including myself, thought that I was dying. I wrote and specially painted and slowly, I regained the upper hand.''
''I had the opportunity to see the doctor who gave me these injections (1979). It was at court; Peter, I do not know how he found him, had sent him a subpoena to testify in his favour. Peter claimed that I was crazy and I think it is to testify to that effect that he ‘’invited’’ the doctor and also my own mother to testify that at the age of fourteen, when I wrote my poem ''From Blood to Fire'' she had with my aunts, had suspicions about my mental health and it is also for this reason that Peter also wanted my psychoanalyst Dr. Vasquez to testify. But when the doctor that gave me these
injections approached me, probably to greet me, I interrupted him and said to him: ''a single word from you about me and I will bring you in front of the College of doctors and then you will explain to them why you regularly administered Valium to a child!'' When the court was called, he was not present and I have not seen him since. In addition, there were no proceedings of the court that day. The judge was very upset to see Peter arrive with seventeen witnesses. He declared that the time allocated to this session was not enough to receive as many witnesses and that he thought it was quite exaggerated to bring all these witnesses to a simple divorce procedure!''
Monique will talk about ‘‘Peter’’,''Vasquez'' and others in her texts.
Here, I allow myself a personal comment: It seems sufficiently clear that Monique was very gifted and that in those years the education system and the modest education of her parents made her suffer greatly from the ''ignorance'' that surrounded her: Her ''atypical'' behaviour (like many gifted children) was frowned upon, misinterpreted and misunderstood.
***** (Biographical contribution: 1960: Monique is 12 and 13 years old.)
Monique is in the first year of her classical studies (8th grade).
Monique starts to get beaten by her mother, sometimes in the presence of her father who does not intervene. This continues into her 14, 15 and 16th year. -''I knelt facing the wall and I held my glasses on my face with both hands; I did not what them to be broken and I let her give me punches and kicks in the back.''
-''I believe my mother was jealous of me because of my grant, the classical curriculum, a special schedule and so on. I had school on Saturday, which annoyed my mother in the sense that strangers were taking my life in hand. In short, I was living her dream in her place, yet another broken dream mixed with frustration for her. I say another dream because when I was younger my grandmother then a widow, the mother of my father died and the house was for sale. My father decided to buy it and we move down, my mother disagreed. My father had a small plot of land in Ville St-Laurent and I believe that my mother dreamed of building a house there. My father sold the land to buy the house and promised to renovate it to her satisfaction, new appliance and everything. Finally, my mother gave in, but I think this broken dream made her realize that she would not live the life that she wanted. I think this was the beginning of the end for her and her married life with my father.''
Note: During a visit to the doctor for another matter in 1982 - 83? after a general examination the doctor asked if she had had an accident because her back bone was slightly deformed. She said she had had two car accidents in the years 73 to 75 and broken ribs. The doctor replied that this deformation dated from before her accident, probably in her early teens...
Also, Monique recounted this to me: ‘’around six o'clock A. M., I went out the window of my room to see my friends. I threw a small pebble in their windows and I spoke with them. Sometimes I sat on the steps of a house in the street and I read. I came home a few minutes before everyone would wake up. I did not want my day to begin with school. I wanted school to simply be ''an'' activity of my day. Also, I did not like to have breakfast at home; too much noise and coming and going. So I ate my two or three carrots for dinner on the way to school.''
I inserted the quotation for the year 1960, but it is valid for other years.
***** (Biographical contribution: 1961: Monique is 13 and 14 years old.)
Monique is in the second year of her classical studies (9th grade).
This latter quotation is also valid for other years: ''My father was very strict about the hour of our sleep, so I continued to read under my covered with a flashlight. My father disagreed and scolded me when he surprised me. For once, my father listened to the recommendations of my teacher, I needed to read and from that moment on I could read in peace, even late at night by lighting a small lamp so as not to disturb Carole that was sleeping with me in the same room.''
In the last few years the relationship between her parents has not been going well. -''When I was little, in elementary school, after we moved downstairs, I heard my parents quarrelling at night and one time, I heard the sound of a large ashtray falling down. I had a statue of the Blessed Virgin at the foot of my bed and she turned into a bat and flew around the room. I cried and I hid under the covers, my mother and my father had to calm me. The quarrelling between my parents disturbed me and I think intuitively, as children have that ability, I suspected already at that age that my mother was not the ''Holy Virgin'' that I thought she was. I also remember that at this age, early primary, I wondered why I was on earth, had not God made an error in sending me here, I was eager to return to him. Also at the beginning of my classical studies, I seriously wondered if I had not been adopted, I felt that I did not belong to this family;
I could not have been born to parents as violent. I dreamed of proving it and that I would be sent to an orphanage where I'd be well and safe. I must confess that I also thought of knocking my father dead with a hair iron! I told myself that with his insurance my mother and sisters would not be in need and could live in peace and I, being a minor, I would be placed in a reform school until my majority and I could study in peace and that it would be perfect for everyone. At the time, I had come to the conclusion that it was my father who caused my mother to beat me and was creating all the unease in the family; he terrorized his wife and five daughters. I believe that one of the things that I heard one night and gave me the most trouble is my father telling my mother: ''If it continues like this, she will be the cause of our separation.''''
***** (As mentioned in the introduction, it is from this date (1962) that I will begin to punctually introduce the biographical contribution and entries in the C.V.
Note: It will happen some time in the early years, than the biography as well as the C. V. will include more than one year at a time.)
***** (Biographical contribution: 1962: Monique is 14 and 15 years old.)
Monique is in the third year of her classical studies (10th grade).
''In a biology class, we had to dissect a cat. The girls were all ''upset'' about the idea of killing and dissecting it plus the fact that the cat had escaped. So it was I who found it and brought it back. I thought we all had our responsibilities and our destiny and that there was no room for sentimentality; thus ours was to dissect the cat, and the cat’s was to be dissected. Some girls found me cruel to have caught the cat, but I felt I was just honest.''
THE PRESNTATION OF THE CURRICULUM VITAE
***** (In 1974, Monique made an update of her resume by adding a detailed list of her activities from 1963 to 1974.
This revision was necessary because of her actions and her recent contacts established in Europe (CIPAC), Mexico and the United States.
Before presenting to you this text, I invite you to read a draft that was not successful and that I found in her files, the text was torn in two, but she did not throw it away ... finding that maybe the biographical contribution should not occupy such an ''important'' place in a resume?
This text is written in the third person. I think she chose this form for personal accommodation, thus freeing her selves from embarrassment, and involuntary and voluntary censorship that can happen in a text where one tells their story without reserve.
This text has not been corrected or revised; I transcribed it in its entirety as Monique has left it. (This is written by her hand)):
1a'': Born in 1947 in a working class neighbourhood in Montreal around the back alleys nicely called slum-blocks, from a Quebec father officer/firefighter and an Acadian mother immigrated to Quebec during the war ...
Eldest of five girls raised in an atmosphere of physical and moral violence, between maternal dissatisfaction and paternal inquisition, a bold hope and a hunger to live very early inevitably designates Monique Jarry to hold the ambiguous role of Don Quixote of the family adventure.
This adventure: to go beyond the stage of survival and LIVE.
The place: the two sides of the world, the slum-blocks and the rest of the world.
The way: think and understand.
The action: resist and express.
Resisting 2a: the clothes that are too thin are not necessarily dull and grey; dyeing, sewing, decorating, making bean necklaces, wood rings, knitted hats, lucky puppets, colourful cribs, Mother's Day cakes, Christmas cocktails more refined than a swig of gin. Disagreeing without being involved in the violence. Dream of independence but confronted with financial emergency DO NOT go to work for ''New Method cleaner’’. Require all social assistance available without being emasculated by ''charity''.
Express: look, feel, perceive, analyse, SEE. Formulate, reformulate, and explain, express.
First speak to yourself, then marvel and translate, express to others, communicate even if there is little or no feedback. Express to feel more explicitly what we perceive to become more CONSCIENT. And so expression thus privileged and premeditated becomes ART. And Art becomes a tool for divination apprehension and investigation of the universe.
At the age of reason and logic, eleven, twelve, thirteen years old, art becomes for Monique Jarry the safe-conduct for the adventure of this great journey chosen within the wide world.
The great fear, the deafening fear of youth; lack of information, tools of knowledge, of learning.
A major project: to win this grant which is offered in 195 ... to about forty girls from working class backgrounds. ''If someone can pass the qualifying exams, I can, I must! ''
Thus the primary course leads Monique Jarry into an experimental classical collegiate section. She thus avoided the underdevelopment mould of the general course.
College life? This section is not a real college. Spaces are limited to the classroom. The teachers follow one another without lingering too long: to make Latin, history and philosophy as picturesque as the metaphysics of the slum-blocks is not an easy task ... Monique for whom traditional schools or not, remain despite of all a square box where you must remain seated waiting for the problematic illumination, that can even be random, of the true substance of life, when life ''as such and as it is'' continues to infiltrate and sneak around everywhere in the outside, in the wide world ... Stand on the desks in the absence of the teacher and tell other stories of life that sing or screams, dancing on three guitar chords and able to draw them on the blackboard to increase substantially of the vibrations of the vast world ...
But then; the stories are interesting and even the teaching body says that something interesting may come out of it and the square box school becomes a prison for Monique who is fed up. She runs away up North where she is caught by the director in person that torments her many hours in an unknown restaurant in the Laurentians until she agrees to return to Montreal and at school. Monique is silent because opening her mouth would make her burst into tears. This silence is qualified as being stubborn.
We are in 1963 and Monique will yield. However she negotiates. Tired of her knees being fondled by the literature professor without being able to tell this to her parents, because her father calls her a little whore if she tells such stories. Monique says it is a waste of time to study in this improvised pseudo-college in a wing full of cockroaches in this old building on St Lawrence street and that she will only return to study in a real college, period. Ironically, this director was a nun before; full of resources and will, within a few hours, she organizes free admission for Monique Jarry at Cardinal Leger College where she will finish her Classic studies.
3a Monique Jarry then co-founder of the Theatre of the Wolves (40 seats) which was well-established in an ally in the east of her neighbourhood, sang, danced, wrote and painted all at once. It is about at this time that she wrote her OKWAO NIWAS (Little Wolf); social criticism of a tortured apprentice-witch-psychoanalyst of fifteen years old. In this essay, the author's personality is developed through a duality more than
symbolic. Miki fearful, resigned and sick because of dispossession and being crushed, in a magic world periodically transfers her place to a character, dynamic, vehement and outraged that is called ‘’ME’’ and materializes herself in a narrow relationship, but unfortunately also is periodically deferred by the games of time and space to a character who represents the other and will be named here ‘’SOMEONE’’. The indictment wants to claim the ecological protection of children in our society and is developed as an SOS denouncing moral violence as perceived and experienced by the child itself as a whole person.
OKWAO NIWASA will also be a testament of a being that after fifteen years of resistance to rape, brutality and servile collaboration feels that any vague desire of social idealisation has left her taking with it in the collapsed part of her own substance. The word, the verb will now be psychologically assimilated to moralizing education and pre-determined social control. Words, phrases colluded with the cultural system. Culture: concept-word summarizing the whole of the practices binding individuality to model and conforming itself to ‘’the civilized way’’ of life as defined and redefined over the centuries by adults and their maturity that has intervened from generation to generation to the term of the traditional castration, (almost unavoidable), of the ‘’beautiful youth’’ by their elders. With the added bonus that ''culturally'' what you can’t see does not exist and this is valid as much for pollution, as love, as for the sex of girls.''
This episode of traditional classical studies still had the merit through its Latin lessons to help her establish the enthronement at the heart of the relationship between the structure of language and the definition of reality that is created by formulating it.
4a This official episode of Classic College will have established for the firs time of a long series, the type of inevitable perils that Monique Jarry would now be constantly under during the following decade: in this official college that was private in 1963 Quebec. The weekly budget of her girlfriends in her class had nothing in common with that of Monique’s. The activities, tastes and ideas of her young friends had nothing in common with most activities, tastes and ideas of Monique. Yet, these studies themselves were making the activities, tastes and ideas of Monique increasingly different from those of parents and neighbourhood friends. At first it was not too bad: there was a certain pleasure, at home at least, feeling original. On the other hand, it was less interesting to be pointed out in the college because this month I did not put enough money in the class collection destined for social charities for the poor proletarian...
By day, Monique Jarry does not write any more. This is the heyday of the development of a more conceptual language, of more immediate pictures. Everything is colour and graphics. The neighbourhood still does not offer anything better than ‘’little jobs’’ and bad bosses to the peaceful and steady jobs and good bosses to the ‘’ambitious fighters’’
who want to be on the ‘’right side’’. And what's worse is that after the 11th year examinations of June up until the early breezes of September everyone becomes enthusiastic ‘’small job seekers''. Great shot of originality: I never leave school, I continued and it is not to become the MP of my riding. And the father to exclaim: ''What's the point! You will always do on purpose to complicate my life. All that the schools can teach children is to despise their parents. You act fresh because you pay your education and your food. But I have to lodge you, will I be doing this right up to my pension. You think you're a millionaire wasting your money for pots of colours, fabrics, guitars, theatre, etc... And now you're going to Fine Arts! With those dirty people in jeans and long hair. If at least you use your education for something useful. Me alive, it will not happen like that!''
In 1964, for sure, Monique Jarry would do everything in her power to never do anything useful, such as loving and kissing are useless junk and non-hygienic. Or that life must remain a valley of tears, or that nature is a scary savagery that leaves mud on your shoes. Or that war is the only valid means of negotiation, or that the lakes are best employed by factories dumping waste than in the hands of lazy fishermen and dreamers. Or that between the hands of dreamers, world bankruptcy would be imminent while between the fingers of empire builders progress manages to make a clean sweep of the backward world of our ancestors and that the future is in progress and that we will finally be safe on earth when wolves nor a single mosquito exists any more ...
5a The director of the Fine Arts school in Montreal intervenes with the family in the name of defending talent and art and thus against all odds Monique Jarry fines herself registered. But again, it will never be said that the birds-with-the-long-necks have their price. And this institution, which makes of its victorious battle of the 50s, the dogmatic creed of today; that after expelling the classics want to declare that outside of ‘’Abstract’’ there is no salvation; this directive, protected and controlled bohemia quickly has the appearance of a golden cage but a cage nonetheless.
Travelling barefoot in Montreal in the summer, from one neighbourhood to another to assert her independence; this was at the same time that she was contesting the hypocrisy, bigotry and the determined cold violence of the generation of her parents that Monique Jarry had made contact with the works of before, of during and of the post-war (one and the other) of senior artists that she had wholeheartedly (thirteen, fourteen, fifteen years old) considered as artists witnesses of their time.
She rubbed her hands congratulating them for their audacity by which, in her minds, should have liberated today's youth from the allegiances of the main themes of the Louves: God, King and war. As for the American response with Pollock etc... she felt human enough and sympathetic enough to understand that the ''Great subjects’’ are now excluded from the theme of artists in this 20th century, assuming that even when
we do not talk to one's self to guide our own thinking, that ''it'' thinks even the same inside. The Freudian ‘’surreality’’ having been admitted in manifestos and museums, the right to free expression had been calmed, then finally claimed and programmed of course. It still remained understandable that the pioneers of this new regime, those who had nonetheless been ''educated'' in the former before the great upheaval, had not still felt entirely at ease with the idea of walking naked and exposing their guts squarely in front of the eyes of passer-by’s. Puritanism historically very understandable.
6a But in 1964-1965, Monique Jarry started from the point of arrival of the seniors in their quest for free expression and understanding of self and the world.
These images that spring spontaneously forth from within this co-science of perceptions, are a language in themselves of this perceptual consciousness and this language like any other offers to the viewer the key elements of a communication with the reality of his own universe, and to analysis, the understanding of this universe itself.
We had to tackle with vigilance the cultural or social impulses of self-censorship. The language of images had been proclaimed free and this liberty recognized as valid notwithstanding any criteria and all considerations of aesthetic, plastic, political, historical… or moral. How not to take advantage of this lightening at the moment when it happens. For culture as any organized system always tries to compensate and recover the damages that are brought to it and risks destroying it as a system. It never ends. Impossible to create a draft. We break down the back door and while we are opening the front door, already the back door reconstructed its self and closes.
1965 was a great period of protest germination. From the cafeteria to the auditorium, meetings succeeded. Neither writing nor speech, Monique Jarry painted tirelessly. The language of the verb, this hoax of speech was squarely put on hold. Contesting provokes the hardening of positions for some and sterile mobilization for others.
Contesting is not an action for Monique Jarry, but a phase of evolution. Only the state of fact exists and if it happens that this state of fact is different from another well then each one must acknowledge that two realities cohabit and only when multiple realities can coexist can we speak of freedom. In culinary terms, contesting is the stammering desire of the mind facing a possible gain of awareness. This awareness if it is achieved constitutes one of the two gains possible pertaining to contesting. Another possible gain is evaluated in terms of creating opportunity. That is to say, contesting goes forward and feeds mainly on the energy of pressurized dissatisfaction. Its action can be disastrous ... etc...
7a The disruption of the established power that it causes can provide an opportunity for the accession to the position of another group of power if desired (i.e. 2nd type of possible gain.'')
***** (The text ends thus: unfinished. Monique probably realized that it was moving away from what is expected of a resume. The act of tearing the text in two is likely the result of her realisation, the act of storing it in a folder is certainly due to the fact that Monique had an almost innate reflex not to throw anything away in anticipation of future use or reference: She was right, this text is being used at this moment...)
***** (This is what Monique had finally decided to write as an introductory page to her resume:)
''I have a profound attachment to my condition as a free being, to have often paid for it dearly. I know the understanding that we must give to everyone that imprison their lives, their customs and institutions. The ''spreading'' of freedom, since our knowledge allows us to begin to consider it, can not be done without the respect of being because it is at the heart of it that is found again this significant desire and it is through observation of the various expressions of the psyche that we begin to reconstruct a language that permits us to engage this ''spreading'' of freedom.''
Monique Jarry Free, free thinker
***** (Quote from an interview made on the TV show Present, Radio-Canada. 1970)
***** (In 1986 Monique added this in the margins of a copy of the text :)
''I think it was on a TV show called Present in 1970 ... unless it was in an interview on the Rastafarians and our spirituality in America 78 ... unless ... bof! I do not remember ''exactly'' but I endorse it anyway because ‘‘I still believe it'’! M.J.''
***** (This was in 1970.)
***** (When Monique had the project with the help of Bishop Valois, to offer a stained glass work to the Holy Father John Paul 11 (1984 - 88), the latter asked her to include a short biography.
Here's what Monique chose to write :)
Marie Antoinette Monique Blégnier said Jarry, Montreal, Quebec.
Monique Amedée-to-Jacquot Noël Lamèque, New Brunswick.
Born on July 3, 1947, Canada.
Mixed race Acadian, without territory, born of a war marriage.
Very early in my painting I developed the concept of being a ''witness'' that of the ‘’human voice'' and not as a visual art arabesque. I made it an ascetic, my way of living.
During 10 years, I held a ‘’chronicle of my time and my generation'', rock painting, it was...
In 1973, a sudden thirst of pictures of beauty emerges in me, but a car accident interrupts this. I have amnesia for 14 months. However in the third month, I know this. The concussion also affects my vision. I never stopped believing that I can re-educate my visual skills, however ... this handicap, even if not permanent, makes me reflect. What would be my life without sight, without memory? Faced with these difficulties in time and space, I adopted a position of ‘’mystical instinct’’.
But I was still affected psychologically: I noted and codify everything during my recovery because I did not want my difficulties to show. I fear the judgment of others...
Cognitively, my rehabilitation was fairly easy, work, reading and discussions. I had by haphazard circumstances found myself in an environment of teachers in the field of business, which was new to me: the world of performance and ... it was empty.
Healed, I returned to my old more intellectual environment. I could not find my creative inspiration. My inner life returned to me the world of my childhood. Between these two moments of my life, there remained a gap that I tried to fill by working on my consciousness. That's where I met the clash of ideas between my natural sensibility and the ideology constructed by my ‘’old’’ college friends. A wall.
After my recovery efforts, this intellectual struggle oppressed me. I felt a great need for ''freedom'', I had again to express myself and to ''testify'' but how, where, what?
This is where Sacred Art seemed like the garden of light where my heart and my mind could finally work together. But my heart and my mind fought continuously… however I continue, because my heart knows what it wants and my experiences in excessive rationalism did not feed me. I walk with true emotion, but also with firmness.
Sacred Art brings the intelligence of life, unity and liberating wind, which I searched so much for.
My approach opposed me to my old community and my family ... but it gives me back the world and a new spiritual family.
***** (Continuation of the biography and the beginning of the C. V.)
***** (Biographical contribution: 1963: Monique is 15 and 16 years old.)
Monique is in the fourth year of her classical studies (11th grade).
Monique is still in the ''special project'' of her scholarship that she earned at the end of her elementary school. But she runs away and is found somewhere in the Laurentians. -''I had passed intelligence tests and my teacher Mrs. X. wanted to meet me in private in her office. I was wary of her; she granted me attention I did not understand. I even mentioned it to my father to the effect that I wondered if she was not a lesbian. Yikes! My father went through the roof, he called me by every name for uttering such a word and that those ''dirty words'' certainly had not been learned at home, and that external influences were making of me a little whore. So, I did not want to meet her in private and I fled. They found me somewhere in the Laurentians and I refused to return to the school without saying anything else. The nun, Mother Superior, who had ‘‘influence’’, ‘’fixed’’ things and I finished my college year at Cardinal Leger. What was most difficult was that I had never studied physics and chemistry at the other school; that really made me rush!''
***** (C. V.: 1962: Monique is 15.
- Creation of the ‘’Theatre of the Wolfs'' in collaboration with Claude Bertrand.
Operation: 1962 - 63 - 64 - 65.
Experimental theatre. Demystification of means, deregulation of
roles: writer, designer, performer, technician.)
***** (C. V.: 1963: Monique is 16 years old.
- Publication at the ‘’Éditions de l’Enclume’’.
O-Kwa-Ho-Ni Wa-Sa (Little Wolf): novel
(Illustrated novel with social tendencies.)
- Songs and readings ''Beat Movement’’, meeting with Jack Kerouac,
Normal School The Plateau.
***** (Biographical contribution: 1964: Monique is 16 and 17 years old.)
Monique is in her first year at the Ecole des Beaux-Arts de Montreal.
As you can see, Monique is 17 years old. The School of Fine Arts accepts applications of those who are 18 years and over. Monique went to make her inscription, submitting her works and completing all the required documents. Now I will let Monique speak: -''I was accepted, but they sent me a letter telling me that the where missing my birth certificate. I went to their office and I told them that my birth certificate was included in the documents that I had provided and that if they had lost it, it would be very complicated for me because I had had it sent to me from Lamèque in New Brunswick and it had been very, very difficult and it was unlikely that I could get another copy. Of course, what I said was not true, I had not included my certificate in my documents; my birth certificate is not from Lamèque but from the parish of St-Ambroise in Montreal and I knew very well that in submitting my application, if I had told them that I was not 18, they would have refused me. I showed myself to be very upset and I left. A few days later I received a letter from them apologizing for the inconvenience that they had caused and that in fact they had found my birth certificate ... (She laughs)'' … Had I met Monique at that time, I'm sure I would have loved her if only for her intelligence and audacity.
***** (Biographical contribution: 1965: Monique is 17 and 18 years old.)
Monique is in her second year at the Ecole des Beaux-Arts de Montreal
Teachers are aware of the influence of Monique on the other students. They decide to ''isolate'' her in another class (empty) during the free drawing periods, saying that she already had her own style and that she was not her to establish her own school''.
She left the family home in late December after a dispute with her father.
He surprises her sitting on the lap of her boyfriend and locked her in the ''cellar'' (not a ‘’finished basement’’ but really a ''cellar''). Monique ran away (through the windows of the cellar) to the home of the parents of one of her friends, Denis. Her father tries to take her home with the assistance of the police, but the police informed Monique that
due to her age (18) she had the ‘‘right’’ (At that time legal age was 21 but there was a ‘’legal tolerance’’ starting at age 18 if the person did not find him or herself on the street.) and that it was her decision. A few days later, she returned to retrieve some clothes and personal items that she could carry; she does so in the absence of her parents. Her father forbade her sisters to communicate with her. Monique will never return to live with her parents. (Monique will talk more about this in her texts.)
***** (CV: 1964, 1964-65, 1965: Monique is respectively, 17 and 18 years old and is at the Ecole des Beaux Arts de Montreal.
- Establishment of the first ‘’boîte-à-chansons’’ (a coffee shop / bar that presents live music) of the AGEUM (University of
Montreal) in collaboration as the designer and host of the place,
with the Artistic Society (Director: Paul Beaupré).
Operation: three nights a week in the studio of the ''Jnobs'' of CBC TV.
The ‘’Café-Campus’’ will follow as a permanent institution.
- Solo Exhibition of inks at the ‘’Théâtre de l’Est’’ under the auspices of the Association of graduates of the Cardinal Leger College and St. Croix College.
- ‘’Batouk and Batêch’’
Weekly poetry show in Montreal, bringing together French-speaking authors.
Batouk: Cuban and Haitian writers.
Batêch: Quebec writers.
Member of Batêch as a writer.
Member of Batouk as the only female performer of the Southern -
Participates as such in shows recorded in Montreal for Radio-Cuba,
- Exhibitions of paintings of the exhibition of students of Fine Arts of
- Solo exhibition of paintings and inks in the Grand Salon of the University of Montreal under the auspices of the Society of Art of the AGEUM
- First woman designer to receive a contract from the Department of Planning of the
City of Montreal.
Being ranked first in the competition for getting a full time job, I was
denied the post claiming that I am a woman and too young to have a
salary of this importance. My father asked me for my forgiveness, that he had acted badly, that he knew of ''people'' to whom he might have offered a bottle of gin for me to get the job ...)
***** (Biographical contribution: 1966: Monique is 18 and 19 years old.)
Five months after her departure from her parent’s home, in May 1966, Monique is pregnant, Denis is the father.
-''He took me in the basement of his parent’s house. I did not understand, I had never done that, I had not even kissed a man for real! Everything was going too fast. I did not understand I did not know what to do; I just let him do it. I was 19 years old, thus a minor and he was 25 years old ... my guitarist, my friend and then Cybèle. I was not surprised to be pregnant, I thought it was normal to be pregnant the first time!''
Her father ‘’organizes'' the marriage.
Monique: ''My mother phoned me to tell me that I was going to get married on such a day and that they would pass by to pick me up at seven o'clock in the morning and to get organized accordingly. I did not take them seriously, but in fact they came to get me that morning with Denis and one of his friends to serve as a witness. We went to church, there was a short mass. They asked me if I agreed to get married and I said no, then we went to the rectory. They wanted me to sign the register of marriage; I still was not taking them seriously. There had been any public notice issued or anything so I wrote where they ask you your religion something like ‘’surrealistic pantheistic naturalist''. And then, poof! The priest declared us married!'' (Monique will talk more about this in her texts.)
During this year, Monique was hired by the city of St-Leonard (see CV) as an animator. What she does not say in her C. V. is that the city, despite her success in bringing together young French Quebecers and Italian in joint activities (music, theatre, etc...) is
that they refuse to pay her. -''They told me I was hired for day activities and that everything I did was early evening, it was not my mandate. I was pregnant at the time and that their refusal to pay me'' gave me a hard blow. The young people that I worked with got wind of this refusal at the end of my contract and on our last evening, they gave me a sum of money they had saved themselves and that they had also asked their parents. I was very touched by this gesture and in addition, the amount that they offered me was almost large enough to compensate for the salary that was refused me.''
***** (CV: 1966, 1966-67-68, 1966-67: Monique is respectively: 19, 20 and 21 years old.
- Performance of sacred music in the chapel of the Community of the Franciscan Fathers.
I interpret the five chapters of the Lamentations of Jeremiah (Biblical Extracts), in a ‘’Blues'' arrangement, accompanied by Denis Sabourin on a single acoustic guitar.
The show is recorded and broadcast in Chile.
- Established the first Cultural Center of the City of St-Léonard.
A Royal Commission of Inquiry had concluded that it was impossible to unite
the young from the North and South (of different origin) in common activities.
Based on my animation skills, I disprove the finality of the
conclusions of the Commission’s report to the Department of Parks and
recreation of the City of St-Léonard.
- Creator, Coordinator and Artistic Director of the ‘’boîte-à-chason’’
‘’The Farfelu'', City of St-Léonard, under the auspices of the Cultural Center.
- Six ''Photo-Happening'' with Marc-André Gagné, photographer Daniel Kieffer
photographer Jacques Clairoux, writer and photographer, and others
The models are warring my creations.
Location: Old Montreal, Café l’Oeuf, National Library, Theatre
Saltimbanques, The Gallery and abouts, Restaurant La Crêpe Bretonne,
Rue de la Montagne, etc.
- Opening of a shop of exclusive creations:''In the Garden of Cybèle''
Bonsecours street in Old Montreal.
Creation of custom clothing, jewellery, puppets, exclusive clothing
For ''baby'' labelled: Moden (Monique Jarry, founder and owner)
- Solo Exhibitions.
Various works in the gallery The Tandem.
- Solo Exhibition.
Various works at the Théâtre des Saltimbauques.
- Creation of JARRYCO reg. (Monique Jarry, founder and president))
***** (Biographical contribution: 1967: Monique is 19 and 20 years old.)
On Tuesday, January 17, 1967 around 7 o'clock A.M., Monique (19) gives birth to her daughter Cybèle at Maisonneuve hospital in Montreal.
Cybèle was baptized in April 1967. (As the marriage was ''fixed'', the baptism was also forced.)
-''I had so much milk that I had to wear pads under my shirt and even then I had to change because they became soaked three or four times a day! And Denis’s mother who said that I was too skinny, too weak to nurse a child ...''
She works at Expo 67 in the Agriculture pavilion and she opened a small shop of exclusive creations (clothing, dolls, jewellery, etc...)''In the Garden of Cybèle'' Bonsecours street in Old Montreal; enjoying the windfall of tourists. (Monique keeps Cybèle in the back room.)
Here's a funny story that Monique told me: -''It is very well to make exclusive clothes, but making exclusive ‘’custom’’ clothes for women three times or four times bigger than me! I was wearing my creations in the shop and they wanted them to, I wore 4 or 5 years old. I did not know up to what point the human body could conceal so many ''bulges''. To hide them and make the customer ‘’happy'', finding herself ''pretty'' was indeed a challenge of ''size''! (Laughs) Sometimes I watched them admire themselves in the mirror and I told myself, embarrassed for them, ''My God she looks ridiculous, and she doesn’t even realize it.’’ All that I wanted is that they not tell anyone where this ‘’creation’’ came from. But it was more rewarding than making the rounds of the shops
to sell my dolls as I did during my high school and Fine Arts years. As I've said before, I also made jewellery by melting old crucifix in my mother’s frying pan, but also, I was creating them with wood or with small glass beads of all kinds of colours. My wooden jewellery were popular and one of my secret recipes to give the ''patina'' was letting ' ' them simmer' ' in the gasoline tank of my friend Claude’s motorbike for a few days, that gave them a lustre without comparison!''
Monique conveyed this to me about one of her paintings: -''I was putting the finishing touches on my canvas, ''The arrival of an alien'' or rather renamed ''Ste-Claire and the Wolf,'' my friends attended and talked among themselves while watching what I was doing. They commented on my work saying that I wasted it with that background, that the background that what I had done was ugly. As for me, I barely could hear them. The last stroke given, I stepped back and look at my canvas and for the first time I had the certainty that I was really an artist.'' (Album 1, works with index cards, No. 1967-015)
Here's another thought that Monique told me about her paintings -''I often went to bed at night looking at my painting, saying to myself that it is at least 50% done and the next day when I got up, I would realize, I saw that there were only a few details to complete ... it is curious… impressions, perceptions, they are curious aren’t they.''
Monique is tired and her ''marriage'' to Denis is not going well, she is unhappy.
She speaks of this in her writings.
***** (C. V.: 1967-68: Monique is 20 and 21 years.
- Director of Programming for The Berlitz School of Languages,
Downtown office, Montreal.
- Performances in various clubs, and at the University of Montreal.
Opening of the ''Prévert’’, doing the first part of Felix Leclerc’s show (show broadcast on State Television Radio Canada)
Technical performance: creating an event that brings participation in terms
''to be'', ‘’come out changed’’; experiments at the interpretation level, of accompaniment, the environment.)
***** (Biographical contribution: 1968: Monique is 20 and 21 years old.)
Monique separates herself from Denis. He advocates an ‘’open’’ marriage where each can ''sleep'' with whom they want. -''I refused this arrangement; I began to realize that I could not live with him. One day in his absence, I wrote in gouache on the living room wall, that I was taking two weeks of reflection and that we could talk later. He did not accept that, he told to whom would listen that I was mad, that I was a whore that I had even written on the wall of the living room. It was gouache; just wash it with water and a sponge! Then he would come to my friend's door where I was living, drunk, vomiting and begged me to let him come in. I was separated from him and later there was a divorce.''
The most marking event of this year is that Cybèle is taken away from Monique. Monique comes back from work in the evening and goes to the babysitter’s to pickup Cybèle and is told by her that her husband Denis came in the afternoon accompanied by police and left with the child. Monique will go to court; her lawyer said that if both parties insist too much to have custody, the child will end up in a state nursery. Monique asked the judge to give custody to the parents of Denis. -''I opted for Solomon judgment. Since my parents did not ''want anything to do'' with Cybèle or me I could not defend myself against Denis and his parents, so I decided to give custody to the parents of Denis where she would be safe and treated well; I was not yet 21 and thus a minor, I could not do more. The idea that Cybèle could end up in a state nursery or with Denis panicked me. Later, Denis took Cybèle by force, threatening his parents that they would no longer see Cybèle if they made waves. Whenever I found where they lived, Denis moved and all the research had to start over again, I could not afford to do such research constantly.''
Monique will talk about this in her texts. Among others in the text ''Vaudreuil-Soulanges page: 1213.
Monique lives above the Chateau (clothing store) on Ste-Catherine Street in Montreal.
Here's a funny story that Monique told me: -''In 1968 or 1969 I walked around with a telephone with me, to my friends' houses at the pub or elsewhere. I had no phone connected at home. It was my way of telling people that they could talk to me, that phone communication was easier, less personal, and that installing the device between us on the table could facilitate the conversation ... people thought I was a bit strange ... (Laughs).
***** (Without knowing it, Monique was the forerunner of the cell phone…)
***** (Biographical contribution: 1969: Monique is 21 and 22 years old.)
Monique is sick: refer to the biographical contribution of 1959.
She continues her activities at a more modest pace at the beginning and increases her pace gradually as her health gets better. (See C. V.)
***** (Biographical contribution: 1970: Monique is 22 and 23 years old.)
Monique meets a young man with a ''Ranch''. He raises horses and is involved in racing and competition. Monique loves horses and goes to his ranch regularly. She attaches herself to a filly in particular. One of her legs is slightly malformed. He thinks in terms of not investing in the animal and disposing of it. Monique convinced him to let her take care of it. Eventually, Monique finds herself in a competition with her filly. He let her go while telling her not to expect much. It is a training completion, walking and not riding. Because of a set of circumstances, lack of timing and coordination, Monique fines herself on the grounds before the judges and the filly has only three shoes. -''I'm standing there next to my filly dressed western with my boots, my skirt, a bolero and hat and I am explaining the situation to them. They politely smile at me and I start the competition. I won the second place ribbon to the great surprise of my friend! I also learned after the competition that it was forbidden to speak to the judges! That this was not done, period. That I could have been disqualified on the spot!''
Monique had not only saved the filly who has now gained value, but she had conquered the heart of her friend who asked her to marry him and had already fixed up a nice apartment for both of them ... This was the end of the relationship ...
Monique vividly conveyed to me this: -''''during the October events’’, the day they declared the ''war measures act'' and that the soldiers made their entries in Montreal, it rang at my door. It was Clement Bertrand and his colleagues of the Youth Assistance division of police station thirty-four with which I was friends and collaborating with them as a street worker. (See CV) They came to pick me up and take me back to the station for my protection. There were raids across the city and they feared that I may be targeted because of my commitments and my political activities in poor and working-class neighbourhoods. They kept me at the station for two days. I slept in a cell, unlocked of course, until they could communicate with the authorities that had a responsibility to stop ‘’people of interest’’, and vouch for me. They did well to have done that because when I returned home, my apartment had been visited and searched! If it had not been for Clement, I could have ended up behind bars for weeks, perhaps!''
***** (Biographical contribution: 1971: Monique is 23 and 24 years old.)
Monique meets Jacques Rochon, she becomes his girlfriend, then her employer.
(See C. V.)
***** (Biographical contribution: 1972: Monique is 24 and 25 years old.)
Monique became a partner in Jacques’s company, but eventually they separated. (See C. V.)
***** (CV: 1968 to 1972: Monique is 21 to 25 years old. The reason I combined all these years is that there are no writings by Monique in 1969, 70 and 1971. Or some of the writings ''without dates’’ from 1972 or 1973 could possibly belong to the missing years. Finally, you will notice, whereas her activity as noted in her CV of these years, that she was nonetheless very busy ...)
- Solo Exhibition, inks, Galerie Ayotte.
- Solo exhibition, various works, at the Saltimbanques Theatre.
- Solo Exhibition, paintings, Galerie François Paris.
- Creation of the Quebec Poetry week
Environment and planning.
Cultural Center of the National Library, Montreal.
Under the auspices of the Government of Quebec.
- Organization and programming for The Gallery, Old Montreal, a tour
of poets and folk singers in the northern region of Quebec.
- Becomes member of ‘’Éditions Chiendent’’ (Publishing company).
''''My first ‘’novel’’, it was called ''The House and the Sea'' editions:
Chiendent, Galerie du Siecle, Director of the Collection: Claude Heaffly.''
- Creations in collaboration with Alexander Farhoud of ‘’The Gallery'' on Crescent Street.
Integration of an art gallery in a business environment within a building
comprising:-concert coffee shop, hairdresser, decorators offices, design workshop, photography workshop, etc..
A permanent exhibition is found there thus unifying various fields by
an arts venue.
I am the artistic director of this gallery.
-''The Gallery’’ manifestation of pre-revolutionary libertarian anarchists
‘’Solidarity and Freedom’’.
- Illustration of poems by Maurice Soudeyns.
- Solo Exhibition at the Patriot in the show ''Made in Joel’’.
Presentation of all visual elements (4-screen projection of 7 feet x
10 feet) of the show itself.
Slides of a hundred of my works and exhibition of major works.
- Private exhibition of erotic art, monotype engravings at the Royal Gallery,
Place Royal, Montreal.
- Design and realisation of ten album covers for Canusa House and
Magna Film Studio Inc.
- Creation of the ‘’SOUL EXPRESSION’’ movement (education
calling on reflexes, imagination, self-analysis and self-conditioning.
- Expression of this movement:
1. Establishment of a first pilot-cell,
public creation workshop.
Experimentation with my method of animation (Soul Expression).
A first session of 3 months of psychoanalysis by pictures
demonstrates the accessibility of the technique of ''soul expression''
to psychoanalysis to any individual aged (statistically) 14
years and over, while ‘’didactic’’ psychoanalysis'' i.e.
Freudian is limited to individuals of at least 22-23
Follow in time:
2. St-Sacrement cell: formation of a research group
concerning participation and environment in theatre (ref, show, 22nd of
3. Formation of the cell of Thirty: research group and
promotion for the integration of art techniques in society.
4. St-Denis Cell: art studios and audio-visual,
theatre for children.
5. Cell St-Edward: arts and crafts workshop.
6. Inside District 4 of the City of Montreal, 6 schools
come together with us for extra-curricular activities.
Will by produced the first ''Pop Festival'' at the Paul Sauvé Arena,
for an audience of 5,000 people (show presenting 5
underground and psychedelic bands).
7. ‘’Drug-Aid'', detoxification organism funded by the
State, asked me to plan a course of rehabilitation
according to my method of ‘’soul expression'' for their new
8. The St-Denis recreation centre (municipal centre) born from a
project to integrate sport and social life for youth.
What emanates from the cell is a genuine movement of ''Living
Theatre'', always using as a base the method of ''soul expression’’
To ‘’increase the awareness’’ of still larger groups.
In 1972, the City of Montreal will consent to this group,
a first special budget for a theatre production for
children. And finally, from 1973, the Department of Recreation of the
City of Montreal will hire, on a recommendation (in an official budget) Mireille Bédard, my main collaborator, to organize in 4 municipal recreation centres, art workshops and ''Living theatre'' according to my methods of animation.
1969 to 1972
- ''Street worker'', I founded and runs a rehabilitation centre by painting for young delinquents (aged 7 to 17 years old) in the Plateau Mont-Royal in an abandoned sacristy in the Fathers of the Blessed Sacrament building in collaboration with the ''Youth assistance unit’’ of station 34 of the Montreal police.
- Exhibition and Show at Cafe La Paloma.
Producer and director.
Environment show presenting texts by Quebec poets.
Soundtrack, visual effects and director: visual projection of pictorial works.
- ‘’The working world’’
Design and staging.
Interpretation and application of techniques of ''awareness'', this is the first
time that this social animation technique is applied else where. It was up to then only suitable for the rural and underdeveloped rural communities.
Visual projections of paintings.
- Solo exhibition at the ‘’Gallery l’Âtre’’.
Works extracted from the following series:
- Eroticism and advertising in the North American context.
- America and ‘’b’’
- The erotic dictionary manuscript.
- Evolution + R: Environment play designed and implemented as a team
by a group of my students.
At the National Library.
- Milton Park Festival: A week of painting and sculpture outdoors
opened exhibition and free expression.
- Participation in the International Congress of the JEC. (Young catholic student)
study the phenomenon of consciousness after the show ''The working world''. Ref. : Art chapter - Creation 1970.
- Normand Longchamps, father tss., counselling specialist, reported
my activity in Jarryco in the framework of a seminar on ''The personalizing Union'' according to Theillard Chardin, University of Montreal.
- Manifestation: Torture in Brazil. Appointed Delegate to the Consul of Brazil
and creator of the poster of the event.
- I become a member of the Ambrosia (Art Center)
- I become a member of the S. A.P.Q. (Society of Professional Artists of Quebec)
- ‘’Public dress rehearsal''''
Environmental show, information on its concepts and techniques; in the
framework of the Salon des Métiers d'Arts du Québec.
Duration 16 days, noon to 10 pm.
Designer and director.
Visual projections of my paintings.
- The Apapièce: Dramatic Poem arranged by Jean Richard, symbolizing
the liberation of a youth trapped by the old taboos
and prejudices of a degrading society. Problems of Youth
in the current world.
In the framework of the People's Festival '71.
- I become a member of B.T.C. (Information Agency)
- Creation of ''BD'': Caricature magazine.
- Communication '71: Presented by Jarryco Workshops, Center for the Development
of Human Resources and Aesthetic Research Laboratory
and the Environmental Science in
collaboration with Trait-D’Union,
Documentation and Development Research Center
Festival in the Plateau Mont-Royal (Montreal), duration:
Programming: . rock opera
. environmental theatre
. outdoor film entertainment
. contemporary music festival.
. underground music festival with
free sessions (48 hours).
. sculpture symposium (1 week)
. painting symposium (1 week)
. mini show (poetry, songwriters)
. physical expression.
- The Children’s Square: creative and sporting activities for children 6 to 11 years old
Location: South Central Area of the City of Montreal.
- Parachute: animated audio-visual and body movements with delinquents.
- Session of awareness within the framework of current literature and poetic creation
for Maisonneuve C.E.G.E.P.. Design and director of
'' Youth Poetry'' in the auditorium of Maisonneuve CEGEP.
- Participation in the Second Congress of the Corporation of Psychologists of the
Province of Quebec, whose theme was ''psychology and the new society.''
- Consulted by the University of Alberta in a national research project
on the multiple use of aluminium in Canada.
- Inciter and signer of ‘’Manifesto 71'' of the Jarryco workshops with:
Mireille Bédard, actress
Paul Beauchamp, muralist
Yves Gagnier, body expression
Jacques Samson, writer
Jean Richard, actor
Andrew Blake, yoga professor
André Philibert, designer
Norman Hervieux, musician
Sophie Lanctôt, puppeteer.
- As part of ''Trade with Guyana’’ of the YMCA'' The
Centre town branch of Montreal delegates me to the Annual Conference between Canada and South American countries as an environmental expert in human relationships.
Geneva Park, Orelia, Ontario.
- The local of the Central JarrycoWorkshops having become too small, we accept a proposed collaboration between Jarryco and Integrated Media Work Shop
Centre for Continuing Education of the Y.M.C.A.
- Provides advertising for the multinational Kreisler Company
- Provides advertising for Gem-Lab Company (Montreal)
- Provides advertising and designing new products for
Mercantile Distribution Company of Montreal. Inc.
- In 1972, I become the main shareholder of Mercantile Distribution and sells in
- Exhibition of manuscript books.
Twenty platelets annotated by Claude Heaffely, director of the Cultural Center of the National Library.
In the gallery ‘’La Sauvegarde’’.
Title: ''The Sand merchant'', publisher ‘’Le Chiendent’’.
- I become the director of projects for continuing education
at the Y.M.C.A’s downtown branch.
- Entrusted by the Aquatic's dept. of the Y.M.C.A. (Keith Simison, Director)
to organize a training program for VTR operators and
organize a photography workshop for courses on underwater photography.
- Entrusted by ‘’Information Data Bank of the YMCA'' English section in the
following program: `` Multi-Media presentation on trends affecting
the future survival of mankind i.e. pollution, population growth rate, etc..''
under the administrative direction of Mr. Rick Patton, professors Dennis L.
Meadows, Jon D. Roland Haxel Henderson Ralh Hamil, Frank L. Moreland
mainly to illustrate graphically the results of research by the
Club of Rome on the future problems of mankind.
- Creation in the framework of the Center for Continuing Education of the YMCA of
‘’Media Center'' that regroups my activities sand socio-cultural animation activities.
- As a project coordinator for the Permanent Education of the YMCA
I collaborate with the following projects: Functional bilingualism, Otoreke, Habita - Canada and I created ''Media-Pi'' a ramification of Media-Center
in the strata of cultural activities.
Note: we must prepare for the future technical staff of Multi-Media.
Some productions Media Center:
-Operation ‘’Up to date’’ and
- Operation ''reunion'': for a tightening of socio-cultural animation
within the organizations Montreal has already structured
to this effect.
- Photo Perspective
- Recreation Video
- Animation of artistic creation workshops
- The Chapel (chapel converted into a theatre)
***** (Biographical contribution: 1973: Monique is 25 and 26 years old.)
She met Peter (her future second husband) in the month of March. They had already met in a painting class he had attended with his wife of the time. Monique was trying to reach someone and from telephone to telephone, reference by reference, chance made that she found herself in conversation with Peter, he wanted to see her.
Monique agrees to spend ''a couple of summer weeks’’ with Pierre in the country. Monique's mother ''landed'' at Peter’s with Monique’s four sisters, she announces that she is divorcing her father. At the invitation of Peter, the mother and the four children spend the summer in the country. Monique is embarrassed and feels obliged to stay there longer than she would have desired.
On a Mirabel road, Monique is the victim of a car accident, Peter was driving, and she was a passenger. The collision hurled her out of the car through the front window, she was found a few meters further down the road in the oncoming lane. In the dark, Peter saw her and took her in his arms removing her from the on coming traffic. Monique suffered a concussion and had amnesia for 14 months, from November 17, 1973 to end of December 1974.
Peter cancels Monique’s apartment in Montreal and moved all her belongings to his place, having decided to take care of her himself.
-''They kept me in the hospital a few hours, I do not understand; I had a concussion, broken ribs my forehead was full of glass and I had cuts all over my body. They should have kept me under observation for at least one night!''
-''At first I did not think I was amnesic, then after a few incidents I became aware. For example: I asked a friend to lend me a book, she looked at me with surprise, telling me that I had requested it a few days ago and I had even handed it back. Other incidents showed me that I was indeed amnesic and I also understood that ''the world'' was not conspiring against me to make me believe it; I was not a paranoid person after all! Only Peter knew it officially and I forbade him to reveal it to anyone. From that moment, I adopted an attitude of surveillance of myself; taking notes and giving myself landmarks that I would often forget...''-''In addition, I suffered from double vision and I was trying to correct the situation by reading. It happened to me in the early days to reread the same sentence four or five times in addition to not remembering what I had read the previous day (laughs)''
-''It is at this point that my migraines made their appearances. They came suddenly, I had to sit down, head between my legs, they were so intense that would lose track of time. Sometimes I would raise my head up some four hours later. I had the back of the head numb for a long time plus the fact that I lost a lot of hair.''
-''In the first days after the accident, at Peter’s, because I was ''visiting,'' I did not have my painting equipment. Despite my double vision, I sat at the table and I made sketches with lead pencils on sheets of paper, I did not remember at that moment that I was an artist, but ’’it’’ wanted anyway. A little later, when Peter recovered my things for me, despite my double vision, I tried again to paint on canvases. It happened to me several times to pierce the canvas with my brush misjudging the distance.''
Since that time, Monique has always suffered from migraines. The only times she was free of them was when she was indisposed or in other words, during particularly painful menstruations, stomachaches, etc.., or during a flu or gastroenteritis. Sometimes she muttered that she preferred her migraines to ''these other inconveniences’’. Early in our relationships (June 1980), on one occasion, we were installed in front of the TV to watch a movie. It was West Side Story; Monique loved this movie and did not miss an opportunity to see it again. She also told me that she and her friends at the time interpreted the film dances in the street in the neighbourhood. Then, early in the film, Monique niche her head between my arm and my shoulder, I asked her what was wrong, she told me that a headache had just suddenly started. After a brief exchange, I realize that she did not take medication to relieve it, that nothing works, that she ‘’endures'' this until ‘’it goes away’’. I invite her to take a walk and we went to the pharmacy where I bought her T.’s with codeine. It was a revelation! Unfortunately, over time, the quantity that she had to take for relief became too great and she had to stop. In the last four or five years of her life, Monique has treated herself with subcutaneous injections in the abdomen (DHE), it worked, but she routinely injected four or five times a week. The recommended dose was two or three times a week, but it was her last resort, nothing else worked.
***** (C. V.: 1973: Monique is 26.
- Association with Therese Slubiki Agent in Paris France.
- Private exhibition.
Inks and monotype engravings at France Clavet-Taillefer.
- ‘’I undertake two underwater murals for a French furniture company made of
‘’Altuglass'', G.P.S. Plastics, using my new waterproof inks,
and my transparent resins.’’
- At the request of Mr. Robert Landreville, director of Multi-Media (Ministry of
Education of Quebec for the metropolitan area (Montreal), they asked me
to assume responsibility for organizing and supervising the work of the animators
of the official agency for the Montreal region. Instead I opted to leave Montreal and live on a farm in Mirabel to continue my personal researches in the calm and the open space. I continue my research on this new art form and expression said to be:
Psychoanalytic, as well as my more technical research on resins and colour pigments.
- Co-founder and owner of the production company Art-ère inc.)
***** (Biographical contribution: 1974: Monique is 26 and 27 years old.)
Monique still lives at Peter’s and continues her convalescence. Peter tells her he must go to France as part of a ''Franco-Quebecois'' exchange on pedagogy and will seek to establish contacts for her and her painting.
-''Well, I told him that it was out of the question that he leave without me; leaving me here alone during that time. That despite my broken ribs, my double vision and the pitiful state of my forehead, I was going! Once arrived, at Orly airport I think, there was nobody to meet us as agreed. We found a hotel, agreeing that we would take care of everything tomorrow. The next day Peter got in touch with the person that should have met us, the man was ''outraged'' that we did not find him at the airport; this was a bad start to our trip. In addition, Peter complained that I slowed him down with my broken ribs, and it annoyed him more than once and he’d start to walk ahead of me on the street at a good pace. I could not follow and at the intersection, with my double vision, crossing the street became very difficult. In addition, it rained all the time, once, very upset by this continuous rain, I entered in a furniture store with Peter, I sat down, drenched, in a chair and yelled aloud to whoever would hear that I was tired of the French and France. A lady approached us kindly smiling, I thought she was a sales lady; she introduced herself, Teresa Slubikie, and informed us that she was the owner of this ''museum'' and that we were sitting, ''soaked'' in an exhibition of contemporary furniture. No, it was not really a furniture store ... We laughed and so did she. It was my first encounter with France in regard to Art. She invited us to stay with her and we became friend.''
***** (C. V.: 1974-75: Monique is 27 and 28 years old.
- First Canadian painter invited by Mr. B. Iskender to be part of painters that
CERAM PROMO edits, joining other painters such as; Carzou, L. Fini, Cocteau, etc..
- Exhibition at the C.I.P.A.C. in Paris: ‘’THE WITNESSES’’
- Exhibition at the National Gallery, the French Design Center: ''LIFE,
LIFE, IS THE PHONIX OF AMERICA''.
- Exhibition at the French Design Center: ''The Witness''.
- Exhibition Art and Historical Sites: ''MAISON GRENIER, 1823: Jarry
painter and designer''- ''Maison Doucet, 1827: Livernois and Dupras, painters
Maison Rosenberg, 1858: Mia and Claus, photographers.’’
- The Autodidact Monique Jarry, creator of a movement genuinely
Quebecker, incidentally the first ''Movement'' in painting (in the history of the
different movements in art in both Europe and America)
basically originating from the ''proletariat'' becomes a permanent member of the French Design Center in Paris.
- Performances and lectures on painting by Monique Jarry in Mexico
particularly in Mexico's Ciudad at the Polyforum Siguieros, as well as
several U.S. cities, Lafayette (Louisiana), Key West, New York
- Private exhibition and Conference in Bella Vista, Mexico, organized and presented
by Roberto De Villalobos, secretary to the President of Mexico
- Co-founder and owner of Jarryco inc.
- Co-presenter and professor in the Department of Business Administration at the
C.E.G.E.P. Edouart Montpetit.
Course: Behavioural science and Personnel Management (45 hours)
For the reinforcement of psychoanalytic exercises by pictures.
Same thing at the C.E.G.E.P.. Old Montreal.
- Co-professor and animator during the day courses, intensive session at the CEGEP
Course: ''Behavioural Science'' (60 hours): two groups of students,
Adult Education, where the assumption of improving the quality of
teaching in intensive courses is tested on a pilot group on weekends and
is compared with a control group, which pursues a regular program.
- Member of the teaching team's experimental pilot project of the College of
St-Jérôme, to promote the emergence of Quebecker ''entrepreneurship'' as
a teacher and creator.
- Manifestation of holistic awareness and participation, July 5 at Manor
St-Sulpice at Mirabel.
Edition of the engraving ''Of Goodness and Love''.
Text and original music: Monique Jarry
Pierre Graton and his group
Pierre Vaillancourt and group
Louis Tremblay and group
Michael Reed, singer
Armando Chavez Leal, Mexican singer
John Ian, Vietnamese singer
Collaboration: Andrew and Francine Desbiens
Suzanne Simard, painter
Kevin Ricard, painter
Francine and Claude Caisse
Kinsey and Agnes Cowan
Michèle and Michel Tremblay
Coordinator: Paul-André and Céline Duquette)
***** (Biographical contribution: 1975: Monique is 27 and 28 years old.)
Peter and Monique undertake a trip to Mexico by car. They have personally interesting meetings and also make new contacts in regard to the arts. On the way home, not far
from Duram, North Carolina, Peter can not negotiate a curve and there is an accident. Monique is projected through ‘‘the back'' of the car and finds herself standing a few feet away. She has scratches and a broken toe. Peter is beside himself, he cries and keeps saying that he will eventually kill her. Once at the hospital in Duram, the doctor sets Monique’s twisted and broken toe and makes a cast. He finds that she has a slight fever and invites her to stay at the hospital overnight for observation.
-''It was definitely not a Quebec hospital; the staff was very nice and brought me Coca Cola at will. There was even one who spoke French and the doctor had Acadians in his family. During the night I had a high fever and my whole body ached. They did not know what I had; they surrounded me with ice, because the fever was very high, then ten hours later, the fever disappeared and I could catch my breath and get some sleep. The fever returned a few hours later and again disappeared. They chose to fly me back to Montreal, really not knowing what I had. On the plane the fever came back and I could see the hostesses inflate like balloons and levitated to the ceiling of the aircraft. Once back in Montreal at the Hotel Dieu, they gave me tests and discovered that I had vivax malaria (the most common non-fatal malaria). They had quinine brought in by helicopter from a military base that landed on the roof of the hospital! The fever disappeared, but I remained very weak. A doctor came to me and said he had in his possession an experimental drug that would prevent me from having recurrent fever attacks for years. That the parasites were in my pancreas and that the medication would prevent them from reintroducing themselves into the rest of my body. I agreed to take it and since then I have never had any symptoms or fever associated with malaria. The time they took to identify what I had was because there were no known cases of malaria in Mexico, even in southern Yucatan, where I was. But that's typical of me, if there is a mosquito within one hundred miles of me, it’s certain that it will find me ... (laughs).''-''Once back at home, my leg in a cast, weak and thin, it took me several months before I recovered. I did not eat, I felt like throwing up at the mere smell of food. Peter worked and he hired a woman to take care of the house and I, Horise. This woman who came three times a week on her motorbike took me in charge! She would sit me down on a long chair outside and handed me a piece of carrot, then a little bit of this or that and slowly, with great patience on her part, she succeeds in making me eat more substantially and I finally gained the upper hand. But during this period when I was thin and frail, people around us thought I had what they called the ‘’the young woman cancer’’. Many were surprised later to find me, alive and fit, in stores and on the streets of St-Jérôme.''
It is also during this period of illness that Peter undertakes the project to find Cybèle; he succeeded. He had come to the conclusion that a part of Monique’s problem was psychosomatic and that she missed her daughter. Then followed the legal procedures that would make Monique have visitation rights and ‘‘weekend’’, and that never again would Denis prevent Monique from seeing her daughter.
***** (C. V.: 1975: Monique is 28 years old.
- Conferences and projections ''Awareness and Art’’. Pictorial art
or the ''ready-made'’ of popular expression.
C.E.G.E.P. - Édouard Montpetit
- Lionel Groulx
- Of St-Jerome
***** (Biographical contribution: 1976: Monique is 28 and 29 years old.)
Peter and Monique moved from the farm in St. Scholastica and move to Laval in the Belle Rive apartments.
Monique accuses Peter of not having signed a lease in good standing with the Crown Corporation that owns the farm, forcing them to relocate due to a change in internal directives. Peter never thought, because of his ''contacts'' that they would require him to leave. Monique worked hard to restore the house had even received congratulations from the ‘’Histar Society’’ for the authenticity of her restorations.
Monique is still working as a teacher at the C. E. G. E. P. and travel with Peter during the summer and brakes; Jamaica, Caribbean, southern Florida (islands) etc.
Note: Cybèle accompanying her mother in those trips to Jamaica, Florida and the Caribbean.
-''I remember once when we rented a boat and captain to take us on a desert island for a few days of camping. Along the way, I got seasick! I am lying flat on the deck of the catamaran and if I get up ever so slightly, I instantly get nauseous. So I'm in this position and I am sipping my glass of champagne feeling a little humiliated. Imagine;
me, an Acadian, from a line of fisherman's daughters for generations who is seasick! (Laughs)''
(Read her writings and consult her C. V.)
Note: The marriage between Monique and Peter remains difficult, they are arguing more and more, he hits her.
-''I remember one time he hit me and I told him that at one time or another, when he was sleeping, I would go to the kitchen to get a knife and stab him in his sleep. I did not need to compete with his physical strength to succeed. Well, the next day, panicked, Peter went to his lawyer to tell him about my threat! (Laughs) he really took me seriously! That says a lot about his two or three missed suicide attempts!...''
In the C. V., you'll notice there is mentioned a meeting with Guido Molinari. He was Professor of Art at Concordia University. Monique recounted this: -''I had an appointment with him, so I took the subway to get there. I fell asleep on the subway and woke up at the end of the line, so I went back in reverse and went back to sleep again. Finally, I got to the meeting very, very late and he was gone. I phoned him the next day to explain what had happened and set a new appointment. We had a nice discussion on art for at least two hours... A funny thing is that ''the incident'' spread through all the college, namely that a young painter had the audacity to miss an appointment with the ‘’Master’’ and had kept him waiting.''
***** (C. V.: 1976: Monique is 29 years old.
- Interview with Guido Molinari, ''Can two parallel worlds
understand each other?'' ***** (Molinari is an abstract painter, not Monique.)
- Ecological cruise to the Marquesas Islands.
***** (Biographical contribution: 1977: Monique is 29 and 30 years old.)
Monique and Peter still live at Belle Rive. Monique teaches at the C. E. G. E. P. and attends to her art projects.
***** (C. V.: 1977: Monique is 30 years old.
- Instigator and spokeswoman for the manifestation of the rights of tenants
of Belle Rive apartments.
- Editor of the Press Office SRVE inc.
- Special collaboration with the Ministry of Education of Quebec, at the
request of M.P. Van Der Donckt (Special Advisor to Mr. Jacques-Yvan
Morin (minister)) in connection with the White Paper on College education.
- Bi-cultural exchange with Jamaica, Discovery Bay and Runaway Bay;
workshops, exhibitions and environmental entertainment in collaboration with:
Winston Green, nicknamed ''Rugge’’, Rastafarian sculptor
Perry Henzell, film maker
Edwin Lothan, nicknamed ‘’Country Man'', actor
Joe James, painter and sculptor
Cherry Rose Nankoo, nicknamed ''Mama Delsie’’ illiterate philosopher
Barbara Parkin, designer
Lloyd George, sculptor
Charles Moodey, aesthetic Rastafarian
Peter Tosh, reggae musician
Pierre Grenier, writer and educator
- Theoretic research and Literary Production:
Roles and foundations of friendship
Autodidaxy and conviviality
From Fernand Léger to the proletarian social origins of culture, to the formation of language.
Structures of language as a signifier of conceptual communication.
Of anarchism or the authoritarian control to the libertarian solidarity.
- The alternative or songs on a certain way of being.
Lyrics Monique Jarry
Music: Ronald Ouellette, Pierre Vaillancourt, Louis Vignault,
Armando Chavez Leal.
''Life, life, is the Phoenix of America''
''De la Tierra Del Fuego to the Greenland Territories''
''Do you trust me?''
''When my father beat me ...''
- Environment and show at the Gallery Dyonisart.
Participation of a French-Canadian audience, English-Canadian, Acadian and Neo-Canadian.
On the alternative vision in regard to the evolution of the Quebec psyche towards the actualisation of the differentiation through history and daily life: evolution of consciousness in social, cultural, moral, religious and family domains.
- Manifesto on the Mass Media.
‘’Non credibility of the press or underdevelopment of the Mass Media''
- ‘’Symposium on established power’’ Kingston, Jamaica at the instigation of Monique
Jarry, Pierre Grenier, Lotan Edwin and Cherry Rose Nankoo
Jamaican Group Participation: see group previously identified
Special collaboration from England: Christopher Wood, musician
John Dewe Mathews, painter
- Interview with Bob Marly during his show at the Montreal Forum.
My questions focused on his vision of the Rastafarian ‘’religion’’ movement
with respect to its influence in North America. The representative of Capitol
Records, visibly uncomfortable, wanted to end this topic of conversation and move on. Bob Marly turned to him and said: ''No! I like this subject.'' Unfortunately the photos of this meeting were destroyed.
***** (Biographical contribution: 1978: Monique is 30 and 31 years old.)
Peter and Monique leave Belle Rive in the spring of 1978. They bought a three-storey building on St-Denis Street in Montreal to renovate it, live there and rent space.
On or about October 18 (78), Monique and Peter separate. There will be a ‘’legal battle’’ that will last about five years. (See Monique’s texts.)
***** (C. V.: 1978: Monique is 31 years old.
- Invited in collaboration with Helmut Freud, president of the ESA
(UNESCO) Geneva, and Pierre Grenier, Coordinator of the Department of Administrative techniques at the CEGEP of St. Jérôme, to the Annual Conference of the Jamaica Teacher's Association.
- Meeting and exchange with Michael Manley, Prime Minister of Jamaica.
- Collaboration with the Agency for Public Information, Kingston (official organ of
The information in Jamaica).
- Back in Montreal
Purchase and renovation of a building in the downtown district.
- Exhibition of the series of studies in charcoal (And life) on the theme:
‘’Ages and faces of consciousness’’. Invited to the inauguration of the Festival for the 10th Anniversary of the opening of the Patriot, as the first artist exhibited by the ''Patriot'' in Montreal 10 years ago, Ste-Agathe.
- Study’s on movement and anatomy with Richard Howard, dancer and choreographer
Ballet and Modern Dance Company; Eddy Toussaint.
- Concerns and issues of research, writing and drawing. Sensuality,
perceptive intelligence links: perception-desire-pleasure versus dreams (imaginary place) and art (where action is situated).
***** (Biographical contribution: 1979: Monique is 31 and 32 years old.)
At the start of 1979, Monique gets from the court the exclusive right to manage the building on St-Denis Street. She continues the renovation work, lives on the second floor and once the renovations are completed, leased the first floor to a company and the third to a ''natural medicine'' clinic. She says: -''I undertook the renovations of this building as if it was a large sculpture to be done.''
I am part owner of a stained glass boutique/workshop on St-Denis Street (La Maison de Verre). In late May, early June, my associate, Carol, entered the store accompanied by Monique and introduces her to me. They knew each other several years before and have crossed paths again. Carole's intention is to ‘’replace’’ me'' (We get more or less
along) with Monique. Monique does not know his intentions. She knows that Carole wants someone to create new models; an artist. Her style ''adapts'' itself nicely to stained glass. At that time, I was responsible for designs. I am a good designer, my ideas are not rejected by the customers to whom they are offered, but I am not an artist of the likes of Monique, that's obvious, and I have no resentment in this regard, to the contrary, I like what she does.
Carole dose not have the culture and knowledge in the art of Monique, or me. He notices that we sympathize and quickly become friends. His ''secret'' project to replace me transforms itself into an association of three.
In late December, after the Salon des Métiers d'Art, the doors of the Maison de Verre are closed; there was conflict between us and Carole, it was ‘’fomenting’’ for a few months already. The Maison de Verre did not close ‘’because of the departure of Carole'' but rather due to a set of circumstances involving departments of the federal and provincial governments who could not agree on how to support and fund us (in the project ''The Cultural Industries'' on one hand and the Federal Development Bank and the Council for the Arts on the other hand). At that time, the Partie Québécois provincial government and the federal government did not get along very well ... Seeing that the situation would not improve before months and months, we chose, Monique and I to ‘’thank’’ them for their trouble and sent them packing (January / February 1980) and to do something else.
Throughout the fall Monique and I were seeing each other more often: Meals at the restaurant, conversations at my place or at hers, phone calls, etc...
I met her daughter Cybèle when she had undergone a minor operation and was recuperating at her mother’s. I even helped prepare her room. I also helped Monique to complete some work remaining on her property.
Last note: Monique told me that she has always been preoccupied by light and brightness. She worked with polymers, research, experimentation, etc. She said she loved watching the slides of her paintings because of the light it gave off. Finally, she told me that it happened regularly for her to admire the works in stained glass in the windows of stores (brightness, colour accuracy, etc.) and that her chance encounter with Carole, who worked in stained glass, led her to take this opportunity to truly experience stained glass.
***** (C. V.: 1979: Monique is 32 years old.
- Owner with Robert Stanton, artist and designer and Carol Levesque, craftsman, of
La Maison de Verre inc. (Fall 1979) I became responsible of operations (production workshop, retail boutique, wholesale and technical course on glass) of the Maison de Verre reg. The new corporation will focus its expansion efforts towards the creation and penetration of new market, that of architecture and construction through canopies. The company has 12 full time employees, 5 to 7 seasonal employees or part-time and 4 or 5 sub-contractors.
- beginning of my collaboration with Robert Stanton concerning creation.
- Exhibition of original stained glass art creations: Jarry and Stanton, at the
Gallery of Artisans du Meuble Québécois.
Technical Research: Jarry, Stanton, Levesque. Assembling: The group Maison de Verre inc. 1979.
- Creation of two glass walls (5 feet X 20 feet) in collaboration with R.
Stanton, at the request of Mr. Jean-Pierre Daudelin, for the Samuel restaurant, located in St-Jean d'Iberville. Creation : Jarryco inc., assembling: Jarryco workshops and La Maison de Verre 1979.
- Salon des Metiers d'Art du Quebec: exhibition of stained glass: design and conception
Jarry and Stanton.
- Research preoccupations: I abandon research on resins and plastics.
Climate studies on glass and its colour. Analysis of the problems of financing in creation.
***** (Biographical contribution: 1980: Monique is 32 and 33 years old.)
Monique and I are continuing our collaboration: There were a few contracts to finish in the order book of the defunct Maison de Verre.
I even took part in an artistic performance that Monique gave in an evening dedicated to art at the ‘’Women's Experimental Theatre’’. (See C. V. and file)
Note: You will find this performance in album 3 on this site.)
In late May, Monique confides to her daughter Cybèle that she loves me but she does not know if it is reciprocal. All I seem to offer is my friendship. Cybèle advices her to
tell me and get it off her chest; if it is only friendship that she should console herself and move on. I live a few blocks from her home. Monique comes to me and offers me a text; I read it in front of her. The text is very theoretical and ambiguous, I do not detect in the writing the ''love declaration'' that it is supposed to contain. I comment the text, Monique realized that I did not understand her text and we talk about other subjects until late in the evening. She asks if she can sleep at my house because she does not want to wake Cybèle at this time of night. I agree and she lies beside me in my bed, she takes my hand and that was the beginning of our relationship.
She said at another time: -''When I lay beside you, I was resigned that there was only friendship between you and me. I really did not expect that by taking your hand that you would understand that as an advance on my part. I was surprised at your reaction, pleasantly surprised indeed.''
At another time, she said this: -''I loved you from the first time I met you in spring 1979. I even phoned my friend Francine that evening to tell her. She reminded me that I had said after the separation with Peter ''If you see me interested in a man again, tie me up until it passes’’. We had a good laugh. But I had decided to really take my time with you, getting to know you, asking you questions, understanding your philosophy of life and all that. And you?''
I replied that I had found her beautiful and of pleasant conversation, that I felt a spontaneous attraction towards her. That I was not a ‘’playboy’’ and that anyway, my mindset was not directed towards me finding a life partner at that time, but rather seeking to understand what I was doing on this planet. We learn to know each other and our friendship grew stronger, I did not want to ruin something as valuable by a gesture or an unfortunate word that would have led to an estrangement. I pointed out to her that she had not ''advanced'' either, that she had been very discreet in her deep feelings towards me. What if she had not taken my hand that night, we might still be simply good friends. That it all began with a ''misunderstanding implying an understood misunderstanding’’, which made her laugh while saying that I was right.
Finally, this ''misunderstanding’’ was the beginning of a union that lasted twenty-five years, full of love, friendship, complicity, respect and teamwork. Of course, there were some ‘’differences of opinion’’ but nothing that could have put our marriage in jeopardy and overall, when I look around me, I am well aware that in short we had a rare and privileged relationship.
I am telling you all this first of all because I am part of Monique’s biography, it goes without saying, but mainly to emphasize that Monique had two unhappy marriages; one forced on her with Denis and the other with Peter when she was amnesic and caught up in a set of circumstances which kept her off balance for some time. (Injuries, etc...)
So from this May 27, 1980, Monique has been living happily with the man she loved and who loved her and that continually until the end of her life.
As you can see in this Bio/CV, Monique will live other highs and other lows, but very rarely in connection with our union. (See text.)
Besides, you'll notice as you read (in her complete biography that is not yet online) that Monique has rarely written about me and to me. It is rather I who wrote love notes and love letters to her. She apologized to me saying she was ''not good'' at writing that type of letter, that she did not know how. I reassured her telling her that she showed me her love in many other ways. I think that for her, I was part of her very private life, in deep intimacy and wanted to keep at least that for herself, I am very touched.
One last thing for this year: At one point, Monique went to her mother’s to retrieve her golf clubs and took the opportunity to invite me to meet her. Monique had spoken very little about her mother to me except in general terms. The ''visit'' lasted about forty-five minutes and we left with the clubs. Once at home, Monique asked me what I thought of her mother. A little hesitant, I told her she had hard features and a cold look, that ultimately she was not a very sympathetic person to me. Monique exclaimed herself and said: -''It's the first time someone tells me such a thing! Usually people are all swooning over her beauty and grace! You saw through all her decorum what kind of person she is.'' I told her that the feelings I experience at the first meeting, ''the first impression'' that almost all of the time it proves itself correct. That I did not cultivate this ''skill'' but simply that I noticed this fact regularly. Monique told me that her mother, considering her attitude towards me, felt comfortable with me and talked to me like someone she has known for a long time. Monique was thrilled to finally find someone who did not automatically fall under her spell and saw her for what she really was. From that moment, Monique spoke more fully to me about her mother and her family. Moreover, Monique wrote a lot about them. (See text.)
***** (C. V.: 1980: Monique is 33 years old.
- Dissociation of La Maison de Verre inc. A conflict of orientation opposes Jarry
Stanton and Carole Lévesque. The question comes in two parts: first, can we bring in ''human'' terms a team of skilled artisans to compete with the performance of industrialized production of certain corporations (type: Muli-Light, Tiffany Lamps etc.) oriented more toward quantity than exclusivity. Secondly, would the emphasis of
the production of this corporation be based on reproductions or copies for most American or on the execution of original works (exclusive multi-design).
- Stanton joins his action as a stained glass maker to that of Jarry, in Jarryco
- Initiated by Jarry and Stanton, a study of ‘’feasibility’’ will be conducted by Jarryco
Inc.. on the question of possible acquisition of the Maison de Verre inc., that fell into financial and administrative difficulties due to the respective departures of Jarry then responsible for the administrative function and Stanton, then in charge of production.
- Initiated by Jarry, Stanton and Jean Garceau (glass craftsman and sculptor), a
first survey on the potential profitability of a glass market based primarily on an original Quebecker design, starts in collaboration with a group of 6 graduating students in administration at St. Jérôme CEGEP (Credit: Project graduation), under the direction of Mr. Pierre Grenier. This project explores various aspects related to execution and marketing of art and crafts in the glass domain, such as, importation and storage of glass, marketing and glass market, development of related technologies (watermarks, bending, etc..) the interest of the artisans in their corporation, financing, etc..
- Conference on the creation and immersion in the social environment of prisoners at
the Cowansville prison. Interview with Paul Rose and others
prisoners who led to negotiations for openings in this
institution of a course on creativity and art glass techniques with a program
relating to culture-design and drafting, patterns, and also techniques of
assembling, cutting and welding. The project is cancelled: the remuneration offered does not even cover transportation costs.
- Creation performance, May 22, 1980, Women's Experimental Theatre,
Montreal. Under the hospices of the 1st Festival of Woman Creations, from the 21st of May to the 6th of June: May 22nd, ‘’Art’’ evening.
Themes of the performance by Monique Jarry, artist:
‘’better a mother absent and alive than present and dead''
''transcend fear and insecurity by art and intimacy''
''Art and intimacy. Oppression and self-repression. Rebellion and creation. Liberating liberty.''
With the collaboration of Louise Laprade and Alice Ronfard.
Monique’s daughter Cybèle (13 years old) will participate in this performance.
- Study session in France (last week of September) with glass craftsmen
sponsored by the franco-québécois Office. This project has been accepted by the selection committee of the OFQ on the 15th of May 1980; it will happen in autumn as part of the year dedicated to research and creation. We must withdraw from this session in France, because the general contractor (Duquette Construction) advises us early September that the site is ready for our intervention after several previous delays. (See next item for an explanation)
- Design and construction of a contract by Jarryco inc., in collaboration with
Stanton, in the creation of 22 original stained glass windows for the chapel of La Résidence Notre-Dame des Monts, Ste-Adèle, Laurentians. Creation of two murals for the lobby; materials: concrete, Styrofoam, cut copper sheeting and stucco. A triangular tabernacle cast in bronze; the two doors are engraved with sheaves of wheat, and a sanctuary lamp made of stained glass (also triangular) and trimmed with filigree. Congregation Sisters of Notre Dame; architect Patrice Poirier, general contractor Duquette Construction Ltd..
- Study of thermal insulation for stained glass windows, tin and lead, with
Patrice Poirier, architect.
***** (Biographical contribution: 1981: Monique is 33 and 34 years old.)
Nothing special to report. I have lived with Monique since early June 1980 and we are simply working on projects.
Small fact, at Christmas I offered her a gift, the Jerusalem Bible. It goes without saying that she is very surprised of the gift. The idea came to me as a result of questions she was asking herself concerning religion and faith and our discussions on this subject. This gift pleased her very much and she used it extensively. Another little fact: When I offered her jewellery, they were always small; pearl earring or gold necklaces, chains (Cameo), etc. At one point she asked me: ‘’ Why these delicate objects?’’. I told her I knew very well that due to circumstances, she was in a ''war mode’’ because of her trials with Peter, because she had to defend her house; command respect for this to happen and that she appeared in public always in her ‘’armour’’ ... She replied: -''I understand for sure that I didn't draw you to me with my ‘’Amazon look’’, you saw behind it ...'' I told her that I admired and respected her ‘’guts’’, her courage and determination and that the person who ''was supporting'' all this had the right to ''gifts'' recognising her sensitivity and sophistication. I promised her never to reveal to anyone the ‘’true nature’’ of ‘’machine gun Monica’’ ... which made her laugh.
***** (C. V.: 1981: Monique is 34 years old.
- Participates in a project initiated by Stanton on his grant application on an
''exhibition project'' with the Department of Cultural Affairs; Directorate General of
Arts and Letters under the heading ''Assistance for creation'' in respect to the preparation of the second exhibition of stained glass art Jarry-Stanton, in the fall of 1981. This grant is refused, but the exhibition occurs in late winter 1982 on the ground floor of the building that Monique Jarry owns, Rue St-Denis in Montreal. On the same occasion is also added the official opening of the workshop-boutique of exclusive art- glass ‘’Tropic of Cancer’’ reg.: Owner Monique Jarry.
***** (Biographical contribution: 1982: Monique is 34 and 35 years old.)
We still live on the second floor of her building.
The downstairs business is bankrupt. All the applicants who have presented themselves to rent do not offer Monique the guarantees that she wants. Finally, Monique chooses to occupy the premises herself and we open ''The Tropic of Cancer''. The name is chosen, among others based on a book that Henry Miller wrote, and also because the Tropic of Cancer (geographical) is full of sunlight and colour in addition to astrology, Monique and I are both Cancers ... It is an art gallery combined with a stained glass boutique/studio. It offers exclusive works in stained glass and also, in addition, several paintings by Monique are exposed. (Several offers to buy her paintings were rejected by her.)
She believes that to occupy the premises and create an activity around the building makes it more interesting to buy. To our pleasant surprise, we find that the store is profitable. This had not been a consideration in this development of the project.
During the fall, Monique enters into negotiations with two individuals who want to buy the building.
Haphazardly Monique learns that Peter is seriously ill and hospitalized in Montreal, she will go to see him. This will lead to putting a definite end to judicial proceedings and an irrevocable judgment in divorce court ensues.
***** (C. V.: 1982: Monique is 35 years old.
- The Tropic of Cancer continuous its operations; Stained glass window and other objects made of stained glass (original creations) are exposed in the boutique and also made to order: lamps, jewel boxes, mirrors, jewellery, etc.
***** (Biographical contribution: 1983: Monique is 35 and 36 years old.)
Municipal taxes have increased significantly. Interest rates are in the twenty some percent and the mortgage on the building has to be renewed. The calculation is not good for us, she must sell the property. Monique intensifies her negotiations with the two people interested in buying. An agreement will be reached during the month of March; Monique goes to the notary with two buyers to finalize the transaction.
During this same period, Monique leaves the bathroom, meets me in the hallway and said ''we should get married, don’t you think? We have been together for three years, I think it's time.'' On the same tone, casually, I answered that yes that she was right and I went into the bathroom. When I got out, I hear Monique on the phone in a lively discussion with her best friend Francine about the marriage...
We found in previous weeks a house in Ste-Adèle.
The wedding will take place in Florida at my mother’s; she had organized all the ''papers work '' at her end.
We leave for Florida, ''by train'' on April 23 and were married April 27. Monique is 35 and I'm 33 years old.
At are return, we prepare the moving and enter into our new house in Ste-Adèle, in late May
***** (C. V.: 1983: Monique is 36 years old.
- Travel to Florida in late April or early May (marriage). Flew by helicopter over Christo’s: ''Surrounded Islands’’, Biscayne Bay, Miami.)
Monique and I had a face to face encounter with Christo that lasted for about two hours; we had a passionate discussion on the impact of art on the environment.
- Sale of the property located on St-Denis Street and transfer of the Tropic of
Cancer to Ste-Adèle (home and studio) and St. Jérôme (building purchased for hosting the workshop and the Tropic of Cancer boutique.)
***** (Biographical contribution: 1984: Monique is 36 and 37 years old.)
We are living and are seeking to establish ourselves.
Death of her maternal grandmother (Acadian) October 22, 1984, she was 97 years old.
***** (C. V.: 1984: Monique is 37 years old.
- Monique agrees to be Marie-Claire Laroque’s ‘’resource person’’
pertaining to her end of the year project to obtain her undergraduate certificate in Fine Arts at the University of Quebec in Montreal.
Topics: - Who am I?''
- What do I want?
- Where do I stand in this society as a human being and a
- How I can and want to live my own identity?
A text and a sculpture in copper, tin and glass are presented. Marie-Claire
obtains her certificate in fine arts.
***** (Biographical contribution: 1985: Monique is 37 and 38 years old.)
Monique, who has always written, enters a period of intense writing. Since our arrival at Ste-Adèle, Monique raises many questions about her life, her family, the meaning of her existence, of art. Obviously she has an appointment with a serious re-focusing on what she has lived and on what she wants to live now. She has anxiety attacks and we cannot identify the precise reasons, also she has health issues: difficulty breathing, hives, nausea (We live in the mountains, surrounded by trees ... allergies??) A doctor she met in late 1984 (one who will always be called Michel and who has been mentioned several times in her writings ref. file ‘’Collaboration with Marie-Claire’’ proves to be a ‘’valid interlocutor’’; he has culture and interest in the arts. Monique wrote many letters that were addressed to him, the principle is simple: I can not be a valid interlocutor for Monique because I am in her intimacy, her privacy. She needs ‘’feedback from the outside’’ and since Michel agrees to participate, why not. We believe that there is possibility that the quality of her ‘’re-focusing’’ will be enhanced.
One of the main events of this year was the death of her father on July 31.
Her first reaction was anger towards him, that it was cowardly of him to interrupt their discussions and disputes. We went to Montreal where Monique began to organize the funeral and the burial in collaboration with the funeral home. The family in general, her sisters and the sisters of her father did not quite agree with Monique about the three days of exhibition; they did not believe that many people would come to see him. There was, to their great surprise, a crowd. Retired firefighters, the chaplain of the firefighters, I do not remember his name but who was very well known, former union leaders, working comrades from Omer Descert where her father worked after his retirement, the lady he was going out with at the time and her children, etc. Monique welcomed all of these people at the funeral parlour, receiving their condolences and their testimonies while sharing memories. It goes without saying that the ''rest'' of the family who witnessed all this was blown away. There was a Mass where Monique, against the wishes of her sisters, sang ''The Lord is my shepherd,'' and then the burial at the cemetery of Côte-des-Neiges, where there was a reserved space for firefighters and former firefighters.
Monique said: - I am particularly glad that my sisters, at the funeral parlour, saw with their own eyes how much their father was appreciated and loved in the community. I hope it will put into perspective the idea of ''the monster'' that he was that my mother made them believe and cultivated during all the years that he was not there.''
The next day was the meeting with the notary and the reading of the will. Monique’s four sisters were givens, divide equally, all the property of their father and Monique was not even mentioned. Lucette, one of her sisters, once out of the office, told
Monique while she laughed that she rather expected that she would be disinherited because she had really ''stuck it to him'' during the course of his life.
Once back in Ste-Adèle, a few days later, Monique was leafing through her father's address book that she had recovered from his belongings, to see if there were any other people to inform of his death, and noticed the name of a notary who was not the one who had read the will. She telephoned him to inform him of the death of her father. In the course of the conversation, the notary informed her that her father had made an appointment with him in the weeks following his death and wanted to change his will to include his ‘’eldest daughter’’ but unfortunately he had not verbalized the details of these changes, there was nothing to do legally.
Monique did not care much about the inheritance; she was mainly pleased to learn that her father had, at the end of his life, revisited his relationship with her. What pained the most Monique is that there had been nothing for Cybèle, from her grandfather, not even a word, nothing, his only granddaughter.
Note: Monique, in some of her texts makes reference to her ''novel'' or the ''Novel/Journal: This text will be presented at the end of 1985 as a file.
***** (C. V.: 1985: Monique is 38 years old.
- Special invited guest to work with the pack of Cub Scouts 4C Mascouche.
Creation of the ''Objects of Power'' (6 different jewels made of stained glass and pewter, each carrying a meaning on the themes of life and attitudes to adopt towards them. As part of this event, Monique bears the Aboriginal name given to me years ago: O-kwa-Ho-Ni-Wa-Sa (Little Wolf) 1963.)
***** (Biographical contribution: 1986: Monique is 38 and 39 years old.)
Nothing special to report. Monique continues her soul searching.
We're still trying to ‘’solidify’’ are selves financially through our projects and our business.
***** (C. V.: 1986: Monique to 39 years old.
- Operation of the Tropic of Cancer.
- Questionings and reflexions on my life and art: re-focusing and discerning the whole. (Future directions).
Research and intensive writing.
***** (Biographical contribution: 1987: Monique is 39 and 40 years old.)
On January first Monique's mother died of bone cancer.
We go to Montreal for the service and burial. Monique is not organizing these procedures this time. We return home after the burial. A few days later Monique gets a phone call from one of her sisters informing her that she is not included in the will. She (the mother) had chosen to divide everything among her four younger sisters who were not yet well established in their lives as Monique was.
Monique says: -''I expected it, I am not surprised. But again, no mention of Cybèle. Damned them, they will have refused to recognize Cybèle until their very last breaths. They never changed their minds, I can only pray for their souls; refusing to acknowledge the existence of the only child born of their five daughters.''
(2007, Cybèle is still the only descendant.)
Towards the beginning of May, Monique must be hospitalized for several weeks due to general exhaustion and mostly a negative reaction to a new medication prescribed to her. (Side effects, insomnia, etc.).
The house in Ste-Adèle and the building in St-Jérôme are sold and the Tropic of Cancer closes its doors. On the first of July we move into an apartment in St-Jérôme, on the bank of the North River. What is particularly appealing to Monique is the view that she has of the Cathedral across the River.
But moving from a house with a basement in addition to a workshop into an apartment with a small storage space in the basement was not easy. This meant that we had to dispose of several items. This was especially difficult because Monique, in principle, never threw anything away, everything could eventually be useful. I knew this from the early days of our marriage, so before throwing anything, I showed her, and she gave me
her permission or she looked at the object in silence and then I understood and I would say before she said it: ''Yes, I know, I'll put it away because eventually, you'll put in a painting.'' Quoting her like that made her laugh.
Monique, after three years of reflections and trials in ''the business world'' comes to the conclusion that she's sick of it. She is an artist and that her mission is not in that field. I agree with her and I decide to find an ''outside job'' to make us live and support her decision and her new endeavours in art, I quickly managed to find a job. In turn, she arranges our living room in a ‘’polyvalent’’ way so as to be able to teach painting in private, one or two students at once, two days per week, which contributes nicely to our quality of life.
Thus, we seek to reorganize ourselves in this new life. (See C. V. and texts.)
I would like to share with you an excerpt from a letter (1990) that Monique wrote me that relates to her decision about ''business'' and Art:
...''I think it's the security that our love has given me, darling of my heart, that has permitted all the anxiety to leave and to get rid of the business woman who was choking the artist and the person in me.
I love you deep within my being. Yes, you are my life tender love of my heart.''
I want to underline here that Monique is referring to her five years ''with a business/building’’ on St-Denis and perhaps also to her marriage to Peter where she was surrounded mostly by people in administration. Besides, you can see in her writings of 1976 - 77 that Monique being increasingly restored (accidents, malaria, etc.) and becoming more and more herself, asks herself many questions and is affirming herself more and more. In regard to the ‘‘building’’ up to a certain point, ‘’circumstances’’ had forced her hand.
Monique has worked very hard during the years 1984 - 85 – 86 to ''re-focus'' and it is to her entire credit that she managed to do so. I am touched and moved that she gives me some of the credit.
***** (C. V.: 1987: Monique is 40 years old.
- Sale of the residence in St-Adèle and the building located in St-Jérôme. Closing
of the Tropic of Cancer. Moved into an apartment on the bank of the North River in St-Jérôme.
- At the end of summer, Monique Jarry founded and teaches at the Youville Hospital day centre, an introductory course to painting in Sacred Art for persons with disabilities. Students paint with their mouths, with their feet, with prosthesis holding the brush in their hand, etc. The ''group' ' is called ''Au signe de la couleur.'' (1987 to 1993)
- In early November, Monique Jarry initiates and teaches a course in Sacred Art in the training and service department of the Diocese of St-Jérôme. (1987 to 1993))
***** (Biographical contribution: 1988: Monique is 40 and 41 years old.)
Monique is very active and served on several committees. (See C. V. and texts.)
***** (C. V.: 1988: Monique is 41 years old.
- During his visit ‘’ad Limina’’ Bishop Valois, bishop of St-Jérôme offers a stained glass work to Pope John Paul 11. Monique Jarry created and designed this work especially for the Pope in collaboration with Robert Stanton.
- Member of Christian renewal, called ARC (Actuality and Christian reflection) affiliated to the international movement MIAMSI (1988 to 1996)
- Member of the Diocesan Liturgy comity. (1988 to 1997)
- Member of the liturgy comity of the Cathedral/parish. (1988 to 1997)
- Active participation of Research and Action for 5 years (1988 to 1992). Participation in the research, analysis and writing on the group of 20 to 35 years old: ''Towards a new conflict of generations; social and religious profiles of the 20 to 35 years old group’’. Under the Direction of Jacques Grand'Maison, Fides editions 1992.
- Studies in Theology for a Certificate in Religious Studies at the University of
Montreal. (1988 to 1992))
***** (Biographical contribution: 1989: Monique is 41 and 42 years old.)
Nothing special to report. (See C. V. and texts.)
***** (C. V.: 1989: Monique is 42 years old.
- Monique Jarry undertakes to paint murals and create stained glass works for the ‘’bishops chapel’’ inside the Cathedral of St. Jérôme at the invitation of Bishop Charles Valois; Bishop of the Diocese of St-Jérôme.
- In fall 1989, Monique Jarry was honoured for her 25 years of artistic life (1964-89), by the staff and the Bishop of the Cathedral of St. Jérôme, including the Mayor, members of the provincial government and the federal government. Also present where community workers and friends. Monique will be presented with flowers a silver bracelet adorned with a topaz (inscription inside) and matching earrings.)
***** (Biographical contribution: 1990: Monique is 42 and 43 years old.)
Nothing special to report. (See C. V. and texts.)
***** (C. V.: 1990: Monique is 43 years old.
- Solo exhibition of inks and charcoals at the Vieux Palais of St. Jérôme. The title is: ‘’Man in motion'', sponsored by ‘’Culturally yours.’’
- Monique Jarry founds and teaches a course in Sacred Painting art at the
St.-Jérôme Inn. This is a home for the elderly loosing their ability to fend for themselves. (1990 to 1992)
NOTE: During an interview in a local weekly on her activities, Monique Jarry takes the opportunity to give a brief definition of what she means by ''Secular Sacred Art'' : ''It is an art of commitment, of message, of the inner voice expressing itself. All will agree to say that our ‘’performance society’’ and are focused on efficiency has ‘’de-sacralised’’ life. Must we remind ourselves that true friendship is sacred? The love of our children is sacred. The respect and awe before nature is sacred. Work is sacred ... and the secular sacred dimension is expressed in the workshops with, of course, the more traditional religious sacred art.'')
***** (Biographical contribution: 1991: Monique is 43 and 44 old.)
Nothing special to report. (See C. V. and texts.)
***** (C. V.: 1991: Monique is 44 years old.
- Participation in Amnesty International. (Signature of petition and gathering of
donations.) (3 days)
Function: Information and awareness officer at the booth of Amnesty:
Carrefour du Nord St-Jérôme.)
***** (Biographical contribution: 1992: Monique is 44 and 45 years old.)
Monique went to Belgium as part of the MIAMSI Congress (Apostolate International Movement of Socially Independent Social Groups.) as representative of Canada. The ‘’Christian Renewal Movement’’ which she and I are members of at St-Jérôme is affiliated with the MIAMSI (See C. V. and texts.)
The journey is of a dozen days. During the convention there are periods of respite where Monique and her new friends from all countries, which she makes quickly, visit the towns and cities nearby. Moreover, Monique, once back, will maintain a correspondence with several of the people that she met. One in particular (Nadia Dib of Syria who travels regularly between Damascus and Toronto to see her family) will become one of her three best friends. She remains inconsolable on the death of Monique.
Here is an excerpt from a postcard I received from Monique:
October 8, 1992: ''... very beautiful afternoon in downtown Brussels by ''car'' phew! a little sun for the five of us and accompanied by a charming Belgian, Claire, who knew all about the Grand Place and history. She even left the others to take me for a few minutes at the Royal Museum of Ancient Art ''to see again'' five huge paintings by Rubens which I wanted to remember the colours! In all that I saw last week in Brussels and Bruges, this is the room that was a shock for me…''
Once back home, she recounted the following: -''The first time I when I found myself in front of paintings by Rubens, what struck me most was the way he painted gold. I could not see how he made his mixes of colours so faithfully reproducing the colour of gold. So I moved closer and let my fingers very gently brush the colour. A guard stopped me and told me to go back behind the cordon. What I did while saying to him that I thought I understood how Rubens had come to create this golden light. The guard looked at me a moment and then in a beautiful Belgian accent said to me ''but you're an artist then!''. We discussed art for at least an hour; he was a guard at the Museum from father to son for generations and his knowledge showed that. A museum guard there that could easily be a professor of art history here! He was not only doing his ‘’job’’ it was ‘’his'’’ Museum.''
She declared towards the end of the summer -''I feel so good; I’d like to be 45 years old for the rest of my life!''
It is true that she was fit, physically strong and her morale was as strong.
***** (C. V.: 1992: Monique is 45 years old.
- Canada's official delegate to the VIII th General Assembly of the MIAMSI (Apostolate International Movement of Socially Independent Social Groups.) Area of Massembre, Heer-Sur-Meuse, Belgium. (From October 10 to the 18th inclusively)
Function: - Delegate from Canada (voting member)
-International secretary Europe-Mediterranean and North American.
- Retrospective exhibition of Monique Jarry with the complicity of Culturally Yours, from October 21 to November 16 at the Vieux Palais of St-Jérôme. Some thirty works are on display.)
***** (Biographical contribution: 1993: Monique is 45 and 46 years old.)
During the summer, with her girlfriend Muriel, Monique undertakes a road trip to New Brunswick to see her island (Lamèque) and her relatives. (She speaks of this in her texts) (See CV and texts.)
Here is an excerpt from a letter she wrote to a friend about her trip:
...''During the summer: I made a ‘’pilgrimage’’ to the source:
The little Acadian that I am went to
New Brunswick. Wonderful trip with
a friend. (by car). We drove along the river
to Mont-Joli, then crossed the Matapédia
then went around the Baie des Chaleurs and
finally arrived in my archipelago and my island Lamèque.
I saw my parish, but not the ''first''
painting I had seen in my life in my
childhood: ''Notre-Dame-des Flots''. My painting,
no one remembers it ! There is now
another painting of Our Lady of the
Waves but it dates from 1960 ... before that nobody
Everything has changed. Before it was small
gabled houses with cedar shingles, spaced
From each other by the desert moors.
Today the houses are uniform,
Aluminium decline, packed in small lots.
I only recognized my church in the village, the
parking, the two small houses of my aunt and
my cousin Lucie. The small cemetery overlooking the sea, the
fish Cooperative and the dock – that makes
a street and a half across the island ...
I was still glad to see the
kinship. Several have gone to live elsewhere
I visited all the nooks and crannies of
Miscou Lamèque, Shippagan, Tracadie.
I am satisfied. I do not think I will go back
often except to teach Sacred Art
perhaps in Bathurst ... the land of my
childhood no longer exists ... but it will inhabit
***** (C. V.: 1993: Monique is 46 years old.
- Monique Jarry was invited to teach a course in Sacred Art to a group of Rouyn -
Noranda. The course will be given (in intensive) at the Accueil Notre-Dame-du-Sourire during the week of February 21. (6 days)
Note: Monique was asked to give courses on Sacred Art in other places. The reason this one is mentioned in particular is that a part of the course was recorded by her students and that it is the only time this has happened.
Note: You will find the transcript of that recording in album 3 on this site.
- Monique Jarry founded and runs a workshop in sacred dance, offered by the service of
Formation Diocesan of the Diocese of St-Jérôme.
- Monique Jarry founded and teaches a painting workshop for the intellectually disabled. Courses are taught in the basement of the Cathedral of St-Jérôme to forty students divided into two groups i.e. Wednesdays and Saturdays. The activity will be known as: ''The painting club Guardian Angel'' (the name is given to the group by the disabled themselves in regard to their love for Monique.) (1993 to 1998)
- Intensive courses in religious art given at the House of the Jesuits fathers (St.-Jérôme), Summer 1993, under the auspices of the Liturgy of the Diocesan Education Service.
Course Duration: 5 days.
- Course on sacred art in intensive at the House of the Jesuit Fathers, in September 1993 under the auspices of the Liturgy of the Diocesan Education Service. Course Duration: 5 days, from 9 am to 9 pm.
- Monique Jarry is invited to be a founding member of the ‘’Alliance of
Citizens’’: political party running for mayor and alderman in the municipal elections of St-Jérôme in November 1993. If elected as alderman, they promise her to be responsible for the socio-cultural and artistic activities of the city.
The mayoral candidate, Mr. Denis Germain was elected and 5 of the eight aldermen; Monique Jarry is not elected.
Note: several citizens met after the elections, will confess to Monique Jarry, that they did not vote for her because they feared that she would lose her effectiveness in an elected office, i.e. that the ''bureaucracy'' would be detrimental to her freedom of action.)
***** (Biographical contribution: 1994: Monique is 46 and 47 years old.)
Nothing special to report. (See C. V. and texts.)
***** (CV: 1993 - 94: Monique is 47 years old (1994).
- Monique Jarry began classes on ''Marial life'' based on the teachings of Grignon de Montfort. She will be consecrated to ‘’Marial life’’ May 26, 1993 and will continue to follow the course until 1994.)
***** (Biographical contribution: 1995: Monique is 47 and 48 years old.)
We are moving from our apartment into a larger dwelling. It is on the second floor, the floors are hardwood, and it is spacious and well lit.
A few months before her death, Monique told me that she loves this apartment, that this was her favourite residence of all her life.
Here is a humorous anecdote about politics: On referendum night, after the results, Monique said: -''Robert! I do not understand Quebecers. If we Acadians were 85% of the population, it would not take long before that New Brunswick would be called Acadia! I really do not understand! I answered her as follows: -''Yeah, that's why Quebecers did not get deported.'' That reply made her laugh a long time...
***** (C. V.: 1995: Monique is 48 years old.
- Monique Jarry is a member of a group of few people who organize and
perform (rented premises) evenings of dances, music and poetry.
- Move to a larger dwelling (1st of November 1995) with the intention of being more at ease to give her private courses in art. (Also in St.-Jérôme)
- End of the work (1988 to 1995) on the ‘’Bishop’s chapel’’ inside the Cathedral of St-Jérôme (Mgr. Valois Bishop of the diocese.
Presentation (opening) of the murals and the stained glass works (title: ''Garden of Prayer'') on December 12th in the presence of the media.
Creation and execution by Monique Jarry (Robert Stanton assembles the stained glass works.))
***** (Biographical contribution: 1996: Monique is 48 and 49 years old.)
Nothing special to report. (See C. V. and texts.)
***** (C. V.: 1996: Monique is 49 years old.
- Monique Jarry joined the St-Pierre Optimist Club. (September 17))
***** (Biographical contribution: 1997: Monique is 49 and 50 years old.)
Monique celebrates her fiftieth birthday at home with some girlfriends. She is in splendid form and is complimented on her appearance and vitality.
Unfortunately, a few months later health problems arise and will never leave her. She underwent many tests and doctors could not identify the problem; difficult menopause?, Hormonal disorders due menopause and medications she must take? They detected small lesions on the back of her brain (probably caused by her car accidents and had not been noticed at the time because too small to be seen by the instruments of the time.) One thing is certain, these lesions are not severe enough to cause epilepsy, but may well explain the fact that she sometimes falls suddenly and without apparent reason. (See ‘’note’’ and C. V. and texts.)
***** (C. V.: 1997: Monique is 50 years old.
- Foundation by Monique Jarry the painting workshop ‘’Christelle’’.
This workshop invites adult female with ''modest'' incomes to ‘’convivial’’ painting class. ‘’Courses at a mini, mini, mini, mini price, including materials, coffee, music, ''friends'' included. Price $ 3.25 (if on welfare: $ 1.75) periods of 2 hours per week.'' (From 1997 to 1999))
***** (NOTE: This is the last punctual entry in the CV (1997). The last entries in the CV can be found after the last biographical contribution.
***** (Biographical contribution: 1998: Monique is 50 and 51 years old.)
Despite her pour health, Monique continues her activities. (See ‘’C. V. note ‘’and texts.)
***** (Biographical contribution biography: 1999: Monique is 51 and 52 years old.)
Same as 1998. (See ‘’C. V. note’’ and texts.)
***** (Biographical contribution: 2000: Monique is 52 and 53 years old.)
Her state of ‘’chronic fatigue’’ gets worse and she cancels all her outside activities.
I quit my job to stay with her full time. I take care of her, meals, medication, shopping, etc. She can be active approximately two hours at the time, then it's a nap or reading lying in bed, and this two or three times a day.
She still receives a few students in private, but it takes her all of the next day to recover.
***** (Biographical contribution: 2001: Monique is 53 and 54 years old.)
Same as the previous year.
***** (Biographical contribution: 2002: Monique is 54 and 55 years old.)
Same thing as above.
***** (Biographical contribution: 2003: Monique is 55 and 56 years old.)
She cancels all of her classes and concentrates on her personal projects.
***** (Biographical contribution: 2004: Monique is 56 and 57 years old.)
For quite some time, Monique and I had noticed that we seemed to be sometimes ‘’telepathic’’. For example, I would go to find her to communicate an idea I had just had or something that we should not forget to do and while I was saying it she would begin to laugh, showing me what she was writing in her notebook. This happened regularly, we said we were, by talking to each other constantly and getting to know more and more about each other, becoming telepathic. We did not take ourselves seriously, but found that all these ‘’coincidences’’ were amusing. All this to say that at our last Valentine's day, I had bought her a red teddy made of cloth tattooed with full of small pink and white hearts and a white satin bow around the neck. I had written a nice little romantic letter, I rolled and tied it with a red ribbon, and slipped it under the arm of the teddy and sat it on her pillow in our bedroom in her absence. When she discovered it, of course, she was touched and pleased with my offering. She told me to close my eyes and then put in my hands a red long haired teddy bear that held in his paws a load of hearts sewn together and a little love letter. We had had the same idea and that amused us a lot.
Most of the time, I offered her chocolates and perfume. Monique loved the fragrance, and loved to wear it, but she also loved just open the bottle and smell it. She said that she always had done that just for the pleasure and also when she felt depressed or unhappy that doing that consoled her, that it put her in a better mood. She offered me white chocolate mostly, that I like very much. But this time we decided without consulting each other to do otherwise ... another ‘’coincidence’’…
My teddy bear was hung on a chain with other small cloth animals hanging on the door of our room and hers, that she found well made and admired the workmanship, is still on her pillow.
Sometimes ''coincidence'' can be unfortunate, this is what I wrote in my little letter:
Happy Valentine my little Valentine!
Today we celebrate our 23rd Valentine's Day.
It's wonderful! I would like to add a zero to this...
That is to say, a zero to the figure 23 and not instead of course!
Can you imagine! ? We have only celebrated 10% of Valentine's Days
that we will spend together ... it's soothing, don’t you think?
I love you!
... Ha! Yes! By the way, your kindness, your smile and your intelligence
decorates well your cheerful heart. It is a joyous pleasure to live with you!
Robert X X X (to the infinite)
You've noticed that my pun was proven true, but in reverse: it was our last Valentine's Day...
***** (Biographical contribution: 2005: Monique is 57 years old.)
Monique died January 21 at approximately 11 pm. (See the last note of the C. V.)
During the last five years of our life together, that is to say since I left my job in 2000, we lived together twenty-four hours a day and seven days a week. In the beginning, when we started living together that was our wish. Of these twenty-five years, there were fourteen that were in conformity to are wish. Despite the fact that Monique was sick, these last five years were a blessing, not really burdened by her condition. Monique, cheerful by nature and always full of plans and hopes, considered her state of health as an episode, that she ‘’had to be patient’’. She was accustomed to these ‘’altered states of health’’ as she said. I also lived in that hope. Those years were rich in exchange, in harmony, understanding, gentle and unfailing love. We were in our ''bubble'' and we were busy with our projects and our daily life without any feeling of heaviness. Of course, Monique found it annoying that her intellectual vigour and zest for action where undermined by her body that could not follow. She regularly asked if I was not ‘’fed up’’ of taking care of her. I said no. I added that the only person who was ‘’fed up’’ in this house was she and as such I too was ''fed up'' for her.
Monique spoke often of the ''loving gaze on the world'' and I had a loving gaze and still have a loving gaze on her.
I am telling you all this because at the beginning of this work, I presented myself to you as Monique’s ''witness'', also, inevitably, I am also included in her biography. Certainly it is from my point of view that all this is told to you, I do not think that Monique would bring conflicting points on of all this, perhaps a different selection of events, of lighting, of shades, of colours and a slightly different texture. It goes without saying: she was a whole and unique person and from one person to another; perceptions, highlighted facts and interpretations vary.
When Monique had completed her period of questioning, which was difficult (Monique was not a ''half measures'' person) in 1987 and she choose, she renewed and finally re-confirmed her ‘’core mission’’ which was to enhance Being, to help people through the arts and conceptualized, selected ''Secular Sacred Art'' as her tool of choice to continue what she had done all her life, except for as I mentioned, for the period ‘’entrepreneur/business woman’’ that lasted about five years, i.e. from 1978 to 1983
where she was forced to build a new life and a building while being in a ‘’divorce war’’ with Peter, she began to work in the arts as seen in her C. V. (1987 to 2005). You will also notice that her biography from the year (1987) on does not report many ‘’marking events’’; she lived with the man she loved and who loved her and was able to delve unrestricted into her activities, her ‘’personal biography’’ was for once ''in peace and reassuring harmony''.
Although she was devoted to education since 1987, Monique created several works, including the chapel of the Bishop, a few paintings, stained glass, etc.., What decreased significantly was her writing, and this is perhaps due to the fact that she had drawn a clear path and that the period of personal research and questioning was over, it was time to take action and that as long as her energy permitted.
I concluded this biographical contribution on the above last precisions.
***** (Last notes in the CV: Recapitulations and details.)
Whether for the course ''Au signe de la couleur'' (physically handicapped) (1988 to 1993)
or for the course in ''Sacred Art'' at the service of diocesan training. (1988 to 1993)
or for the course ''Guardian Angel'' (intellectually disabled) (1993 to 1997), Monique Jarry has always organised a year-end exhibition with an opening. There were guests of honour to deliver the diplomas, often it was Bishop Charles Valois, bishop of the diocese, which lent himself gracefully, as guest of honour at this joyous event supported by Monique who moderated the evening. We're also present, dignitaries of the town of St-Jérôme, representatives of social services, the MPP for the riding and of course, parents, friends of the students were invited and the general public. The local media would announce the event in their newspapers and attended the evening to take pictures and write an account of the evening which was reported in their newspapers in the days following.
From 1987 until 2003, Monique Jarry has always taught privately in her studio at home. Children (one at the time), adults (one or small groups of two or three), and finally, after the cessation of the activities of the ''Guardian Angel'' (1997), she
continued to teach at home, twice a week, two groups (4 people) of intellectually handicapped persons.
In late 1997, early 1998, Monique had serious health problems, ‘’chronic fatigue’’ settles in gradually and therefore slowly but surely reduces her capacity to teach and to do exterior activities. At the end of 1999, she ceases all outdoor activities, ending the ‘’Christelle’’ painting courses. As mentioned in the previous note, Monique continues to teach in her studio at home until late fall 2003.
Measuring her capacities and the energy that is at her disposal, she makes this decision in order to be devoted to the deepening of Religious and Secular Sacred Art and to her personal art projects.
Friday, January 21, 2005, in the evening, at about 11 pm, Monique (57) died suddenly of a heart attack, sitting in her studio chair. I practiced the methods of resuscitation guided by 911 services online. The paramedics continued at their arrival on the scene and during transport to hospital. The emergency doctor and his team tried everything that they could. Monique never regained consciousness; they could only pronounce her deceased.
According to her written will, Monique is incinerated. The funeral service was held January 27 in the ''Bishop’s chapel'' that she painted. Msgr. Valois and Msgr. Jacques Grand'Maison long time friends, officiate at the ceremony, several friends were present. In his homily, Jacques said that during a visit to the chapel to greet Monique who was painting, in the conversation she had said something that struck him and he would never forget: ''Beauty is the shortest path to reach God.''
On April 23, 2005 a community burial service takes place in the cemetery of St-Jérôme for all the people that died during the winter of 2005. Monique’s lot is the number 1811-171.
- Elementary school; Paroisse St-Ambroise, Montreal.
- Grant from the Government: Art Faculty section of The Assumption College in
Montreal and the College Cardinal Leger; degree - Classic studies
***** (This is a posthumous curriculum of Monique Jarry, thus I will allow myself a ‘’gap’’ in the usual rigours of this type of document to include a quote from Monique about this grant :)
‘’…The great hauning, the deafening fear of youth; lack of information, tools of knowledge, of learning.
A major project: to win this grant which is offered in 195 ... to about forty girls from working class backgrounds. ''If someone can pass the qualifying exams, I can, I must! ''
Thus the primary course leads Monique Jarry into an experimental classical collegiate section. She thus avoided the underdevelopment mould of the general course…’’
- Ecole des Beaux-Arts de Montreal.
- University of Montreal, free listener. - Philosophy
- Studies and Research by correspondence: Institute San Michael Ayendé,
- Bible courses: Dei-Verbum, training centre in St-Jérôme.
- University of Montreal: Studied in theology for a Certificate in Religious Science
- Pastoral practices
- Pastoral intervention techniques
- Pastoral praxeology
- Pastoral and Christian communities,
- Research-Action in pastoral.
- Bible courses by correspondence under the tutelage of Father Gerard Tremblay
C.Ss.R. Sainte-Anne-de-Beaupré, QC
- Personal research and studies on Sacred Art.
Contacts: - Msgr. Charles Valois, bishop of St-Jérôme.
- Canon Jacques Lépine, pastor of the cathedral/parish in
- Father Jean Bouchard SJ, superior of the house of
the Jesuits of St-Jérôme.
- Msgr. Vital Massé, diocesan administrator.
- Father Jean-Pierre Joly, auxiliary bishop.
- Father Lucien Bellavance, OCSO, Cistercian Abbey
Oka. ***** (Father and Spiritual Guide to Monique)
- Michel Forget, priest.
- Msgr. Jacques Grand'Maison sociologist.
Some reference books: - The Jerusalem Bible, Cerf-Fides.
- Concordance of the Bible of Jerusalem, Abbey
of Maredsous, Cerf- Brépols.
- Dictionary of Catholic Theology, Library
Letouzey et Ané.
- The Bible of Tob, Canadian Bible Society.
- The Art of the Icon: Theology of Beauty
Paul Evdokimov, Desclée Brouwer.
- The Icon: The Splendour of your face,
Daniel Rousseau, Theophany Desclée of
***** (... And many other readings. Monique described herself, with pride, as ‘’self-taught’’ and has never ceased to study throughout her life.)
***** (The reference books listed above are among the most important and were also recommended to her students in her classes of Sacred Art.)
***** (See Appendix 1, 2, 3 and 4 for other subjects of study, research and travel related to art and social action.)
STUDIES RELEVANT TO PICTORIAL MANIFESTATIONS:
Mr. Francois Deziel, painter
Henri Charpentier, painter, founder of the Beaux-Arts de Montréal and Director of the School 1927-1942, Master of Soutine, Mogliani, etc... Collaborator of Mr. Eiffel (Eiffel Tower) in the first aeronautical laboratory in France etc...
Pierre Ayotte, writer, professor at the Beaux-Arts in Montreal.
Paul Beauchamp, muralist.
Mr. J. Leprochon, designer, director of archives at the Department of Planning of the City of Montreal, one of the ''instigators'' of environmental science and planning in Quebec preceding by 12 years the creation of the service of Urbanism of the City of Montreal.
Mr. Alexander Farhoud, designer.
Jean Bertrand, Director of Arts of the City of Montreal and their various Centers and artistic manifestations ex: The Mont-Royal Art Museum, the First International Sculpture Symposium in Montreal. The Music Center of the City of Montreal, etc...
Mr. Vincelette, watercolourist.
René Richard, painter.
Joseph Giunta, painter.
Daniel Kieffer, photographer.
Mr. Marc-André Gagné, photographer.
Mr. S. Matthew, photographer.
Mr. M. St-Jean, Photographer
Mireille Bailly-Coulanges, painter
John Dewe Matthews, painter
Robert Rosenberg, painter
Kevin Ricard, painter
Perry Henzell, film director
RESEARCH AND STUDIES SPECIFIC TO TECHNIQUES.
Mr. David Alfaro Siquiro, one of the three theorists of proletarian art in Mexico and
Master of the mural.
- Architectural perspective and appearance.
G. Orlander, a chemist employed by California Lab. Specialist in polyester.
JB Smith, director of research on polyurethane, Dow Chemical.
MM. Jacques O'Keefe and Samuel Nab. (Architects) president and research director
of Geo-Plastic inc. Company moulding high density urethane.
Marc Laferrière, dye-maker, the use of resins to mould as a finished product in painting, murals, furniture and the multiple finishes on aluminium.
Mr. Al Coutu, dye-maker, Plainville, Mass.., USA (International capital for jewellery) on the use of resins as a covering for cloth, paper, fabrics, etc.. (Hermetisation of basic materials).
André Chalène, Swiss chemist, president of Farbianca, USA, New York and Farbianca Canada, Montreal; research on colour pigments and additives adaptable to oil based plastics as well as coal (e.g.: Altuglas ).
Franciscan Fathers Community, comprehensive study of various techniques of screen printing and basic principles of all manual processes of ‘’engraving’’.
Mr. Gilbert Boutin, Ski Tremblant inc. On the resistance of plastics at low temperatures.
Etienne Le Gardeur, research director at Altuglas GPS inc., Paris, France, on the resistance of colour components to sunlight and high temperatures on the strength of the material.
Mr. Hubert T. Hunter, responsible for research, Chrystal Sheen inc., California, USA, through Dr. Edward Ives, commercial attaché, Quebec House in New York, on catalysis.
RESEARCH, STUDY AND INTEGRATION IN TO THE AREAS OF PSYCHO-SOCIAL INTERVENTION AND PSYCHOANALYSIS IN ART.
Dr. Lawrence M. Santerre Doctor of theatre and phonetics, director of the Laboratory for Research in Phonetics at the University of Montreal.
- On fantastic literature
- And the use of the voice and phonetic sounds as a medium of awareness.
Mr. Isvan Hanhalt, musician, responsible for the Electronics Laboratory of the University of Mc. Gill.
- Meeting on sounds and nerve impulses.
Paolo Freire, correspondence:
- Review and adaptation of the technology of literacy of adults in agricultural communities in the developing world, to the urban North America community through the show on ''awareness'' by the environment.
Franz Manouvrier MD., Director and founder of the Institute of Sexology of the University of Montreal.
- The study of sex symbols in the North American society of today.
Mr. J. P. Gelinas, MD., Sexologist. Specializes in the sexuality of families.
- In the framework of an exhibition called ''Advertising and Eroticism in the North American context.''
David S. V. Solomon, MD., Dean of the Faculty of Sociology at McGill University.
- Studies on the differences between Western concepts, America versus Europe.
Jean Dolfy, MD., Dean of the Faculty of Sociology at the University of Montreal.
- Similar studies.
Mr. William Hanigsberg professor at McGill University.
- The influence of sociological phenomena of the United States on Quebec.
1968 to 1972
M.J. Vasquez MD, psychoanalyst - Introduction to the techniques of psychoanalysis
teaching (i.e. Freudian) and the study of the following authors : S. Freud, C. Yung, Sherner , Berne, etc..
Meeting with Mr. Deleuse on anti-psychoanalysis.
Mr. Pierre Grenier, administrator, on the relationship between the ''being'' to individuality, society and the state.
Claudette Tougas, a journalist, on self-learning in the workplace.
André Cloutier, union man, on self-education and union commitment.
Maurice Hebert, union man, on unionism and the leisure society.
Mr. Ivan Illich, a sociologist, on suffering, masochism and power.
Ronald Ouellette, songwriter, performer, and self-education and parallel cultures.
Michael Manley, Prime Minister of Jamaica, trade unionist and statesman, ''where resistance to conceptual changes of the two extremes have joined.''
John Nankoo, Indian fishermen in the Indian colonies of the Blue Mountains (Jamaica), survival of thought and identity through art and the sanctity of traditional objects.
Mr. Charles Mooney, ''said Cave Man,'' Rastafarian aesthetic, Rastafarians and cosmogony.
Edwin M. Lotan, ''said Country Man'', comedian, self-education in the Third World and the concept of ''Rasta Vibes'' libertarian or popular consciousness.
Deepening of the technique of Fiction and ''simulation'' literary and film with Mr. Igor Rakich, professor of philosophy.
Striking cinematographic works ‘‘Owl River'' (viewed: 1965)
''La Jetée d’Orly (viewed: 1967)
Authors: Herman Hesse
Alfred E. Van Vogt
Kurt Vouneguth Junior
Charles M. Schulz
TRAVELS FOR THE PURPOSE OF SPECIFIC STUDIES ON HUMAN AND SOCIAL ENVIRONMENTS:
- Several trips to the Islands of the Rising Sun, including the island of Lamèque, Canada; Acadian settlement.
- Travel to the islands of the Gulf of Mexico to meet Piet Kuiter of the International Moving Artists.
- Travel to Orlando Florida, USA to study the environmental technology and the illusions of Mr. Walt Disney.
- Study tour and promotion in several cities of France.
- Several research trips and promotion in the United States.
- Travel to Mexico for research and promotion.
- Trip to Jamaica, leisure, meeting with local artists and also a
meeting with Prime Minister Michael Manley, as well as participation in
a conference of professors of higher education ... etc.. (See C. V.)
Postscript: Commentary, explanation placed at the end of a book. (Larousse)
I wonder what I could explain?
Despite the twenty-six years we spent together, once again I repeat that I'm hesitant to say that this biography would ''resemble'' the one that Monique would have chosen to make while she was living. We think that we know a person ''inside out'', but in these circumstances, many times, during this work, I have felt the need/the want to consult her (sadness) on the accuracy or a particular item ... Probably some of the texts that you have read would not be included in ‘’her’’ work... the presentation would probably be different, etc. I’ve composed this to the best of my knowledge about what I know of Monique, and I submit my hesitations to you by repeating a quote by Monique to the effect that: -''When in doubt, never refrain.'' So, I told you everything that I could, saying to myself that: The whole is greater than the sum of its parts and what emerges from all this is: Monique Jarry; human being, woman, artist and mother.
The fact that she died at the age of 57? I remain inconsolable ... I would be at any age. We assumed, like most people, that this event would happen to her or to me; in the late seventy’s… no comment...
Art is a perpetual gift to the altar of life.
Monique has spent her entire life generously inviting all people, believing correctly that the profound expression of creativity that exists within each of us is the only way to live the life that is destined to us as human beings. That is why she opposed the principle of Truth to the principle of Reality.
Monique praised the Beauty of creation and invited us to develop our potential to participate fully. She made of this her privileged tool for real communication.
She said: ''Beauty is the shortest path to reach God,'' and I would say that it is most likely the way to reach ourselves.
This artist-troubadour-storyteller-of-dreams was also ''realistic'': Money, contingencies, obligations, etc... But she invited us all to live all of this in the spirit, in a state of mind, in ‘’A loving gaze on life’’:''The Beauty of the World''.
We enter life, questioning and wondering about everything. Perhaps it is this ''naive'' state that defines us best and as deeply as human beings and that should continue to grow and flourish throughout our lives, replacing the original naivety by knowledge without altering our basic authenticity.
I once told Monique, with a touch of humour:''Einstein, after having established the theory of restrained relativity, spent the rest of his life searching for the unified field of relativity. You, you spend your life searching for the unified field of truth.''
She laughed and replied that perhaps it was a just observation and in fact that she believed that all, each in his own discipline, with his own tools, is probably looking for the same thing and that it was only labelled under different names.
This site is called ''La Art Gallery d’Art Monique Jarry'' and could have been called ''The Museum of the girl upstairs''. This is a story recounted to me by Monique and that amused her very much: She lived on the second floor of a duplex and one time going down the stairs, her down stairs neighbour was leaving the house with her two small children. When the children saw Monique they turned to their mother, and exclaimed:''Mom, Mom, can we go back to see the museum of the girl that lives upstairs!?''Monique had already let them visited her studio in the passed and it gave her a good laugh that they call it a ''museum''. I have noted that Monique, among other things make people ‘’marvel’’ with her art.
Another anecdote comes to mind and this one happened after her death. A friend made the following remark about her painting: ''Monique has a forceful and very original style, but she is not Rembrandt. ...’’ Having ‘’spontaneous replies’’ is not one of my gifts but at this remark I answered this ‘’at the speed of light’’: -''I hope not! Otherwise, we would be lacking Monique Jarry!''
There was a moment of cold silence, then the person apologized for his remark and said that his comment was ridiculous, that all artists are unique and each have their place and their own contribution to the History of Art.
I included this story, because in addition to being correct, I'm pretty proud of myself!
(All those who take a few hours or days before they fined the right reply understand me.)
Another story about Art and Creation:
One of her friends had this to say:
‘’What’s with you! You teach to the physically disabled, the intellectually disabled, to the elderly and on top of that you work in Sacred Art: are you trying to become a saint!?’’ Monique replied: -''That's impossible! I am an artist! Our research leads us
from time to time to commit sins. Our prayers are rarely praise, but rather questions about Creation. And in addition, our questioning and our admiration for God's creation are unfortunately slightly tinged with a certain jealousy''... And she laughed, and then she gave this example: - ‘’I was very proud to paint colourful fish that, I believed, surpassed all imagination and to my disappointment when traveling in tropical waters, I recognized all my fish! God had created them before me and on top of that, adding insult to injury, there were some that I could not have ever imagine!’’
We could say that Monique was recognized among others things as a ‘’colorist’’. Her bright colors and subtle gradations did not grant her very much recognition here in Quebec, but as soon as she found herself in Europe and especially in the southern islands (Jamaica, etc...) or Mexico, then it was a different story and she was appreciated, loved and admired. Here in Quebec she was sometimes called a ‘’naïve painter’’, which surprised and made the art critics of Paris and Brussels laugh. Towards the end of this work in one of her texts, she cites one of those critics as having said: -''If you're a naïve painter then Renoir is a naïve painter also!'' At her last major exhibition (1992) ‘’Retrospective exhibition of Monique Jarry’’ people really liked her paintings, we could say that they had an ''impact''. So I am glad to see that it seams that the ‘’eye for art’’ of Quebecers appears to have evolved and they are distancing themselves from the ‘’drab’’ that they so much liked in the past. In fact, her art was also appreciated, admired and loved in New York, New England, Ontario, British Columbia, California and also in England. One constant that I observed is that Monique has always been popular with young people.
The years (since 1987) that Monique has spent in teaching art in virtual incognito, except for a restricted audience (St-Jérôme), made her personal art work less noticed by the public. I truly hope that this ''website'' will revive interest and do justice to her work. I should also point out that according to her wishes; her paintings are not for sale. The detailed of her reasons are mentioned several times in her writings. I rigorously respect her wishes; at most, if there is a demand, I can have quality copies made (posters). My goal is not monetary, but rather to make her and her works known and especially as she wished, that her works could possibly ''enhance / help'' those who look at them. I offer Monique Jarry to the planet and I can not do otherwise than to submit myself to: ''vox populi'' while hoping that the response is favourable and that her ''life mission'' brings something to others rather than just me and her immediate entourage.
There are so many things I could say to you on and about Monique: Her favourite music, her favourite color, her favourite dishes, singers, artists, films, her taste in fashion and favourite flowers, ho ya! All flowers: Peonies, Roses, Begonias, St Josephs, Trills, Margaret’s, Birds of Paradise (which I offered her regularly) etc ... Monique the
colorist: surrounding her with flowers was like putting a kid in the middle of a candy store… and there scents, she loved perfume. (She was allergic to certain flowers, but preferred to take antihistamines that do without, also risking even an ''invasion'' of ants rather than to dispense with peonies on the table ...). I remember once we were on our balcony, and Monique told me she had identified 17 different shades and variations of yellows of the dandelions in the grass below!!! ... Yes, I could continue on for pages and pages ... I am letting myself be tempted by another example which is also an anecdote. Monique had a strong preference for red and some shades of orange. It would happen that she had a ‘’passing flirts’’ with other colors, but she always returned to her first love. She also told me that it sometimes happened in her art classes that a student would ask her: -''What color should I chose? And she always answered: -''A beautiful color. ...'' (Teachers ... ... sic)
In her painting classes for intellectually disabled, Monique would treat them: ''normal''. She did not take all sorts of ‘’precautions’ ‘’to talk to them. For example: When one of them made a mess or a mistake she’d say -''It's like I thought, no head, no brains!'', Which made them laugh and of course also by this attitude, made them feel like normal people in their own right and also why the loved her so much. The regular councillors did not understand how Monique could keep ''control'' alone of a class room of forty some intellectually disabled of different levels and different character ... and yet the course always wet along in calmness and good humour.
She was a believer (Consecrated to Marial Life, artist in religious and secular Sacred Art: secular art was of her conception) and of a deep, sincere, intelligent faith (but not at all ‘’A fundamentalist of any kind’’, but not at all.) coated with a cheerful personality, insightful, humorous and endearing simplicity. She loved people, she would have certainly questioned you about the origin of your name, Monique was Acadian and she had an interest, a love of cultures, especially in the context of Diasporas and new immigrants; the impact of this situation on individuals. Finally, you would have had a good time in her company and I am sure you would have maintained ties of spontaneous affection towards her from the earliest moments of your meeting.
Despite her charisma (she did not really notice it), Monique was rather shy and reserved of nature. When she entered a room (meetings, parties, etc...) it took only a few moments before she was surrounded by some people. Her attitude and engaging smile attracted people as well as her intelligent and honest conversation, not to mention her sense of humour. She returned home after the evening enchanted and glad to have attended. She had not slept the night before in anxious anticipation or excited, depending, on the party or the event and she would only fall asleep in the early hours of the morning, following the event, summarizing and enjoying all her meetings and conversations. This attitude / reaction was typical of her concerning meetings or events
outside of her normal routine. (When you went to one of her exhibitions, the girl you meet, before entering, cigarette and can of Coca-Cola in hand, walking up and down the sidewalk was Monique ...)
It amused me to observe how long it took before she was ''surrounded'' by people one time to an another. Sometimes she looked around the room and when our eyes met, she lowered hers. This meant that a not ‘’very interesting ‘’ person was monopolising her, she was unable to disengage herself unwilling to risk hurting the other person feelings, so I would introduced myself to this person and monopolized him, Monique took advantage of this to slip away ... Her shyness and reserve? Like many artists of that nature, ''once in the situation,'' she shone in all her colors.
Her sensitivity ... she rarely listened to the news on television; it would inevitably upset her, moved her to much and regularly would lead her in to a sleepless night...
Yes, her sensitivity ... she was moved regularly (often). For example: parades; groupings of people. Edith Butler singing ''Wake up'' or ‘’Evangeline’’, children playing, crying and screaming around our open windows in the summer was music to her ears and would bring tears to her eyes…and many other things ... Louis Armstrong singing ''What a wonderful world ...'' ''The Beauty of the World'' and the cruelty of the world's moved her constantly.
Finally ... did I manage through my testimony to let you know a bit about Monique Jarry?
Did she, in her writings, in her works succeeded to make her self known and loved by you?
Did she teach you something, did she make you think, did she inspire you?
Did I transcribe the sum of what she wrote? No, there are surely discarded or lost texts through the years.
Did she write and transmitted the sum of her thoughts and feelings?
Each of her breathes, of her heart beat, her dreams, her gazes, her joys, sorrows, hopes, the sum of her life...? The obvious answer is of course not.
So to finish this work, I offer you a quote that Monique much appreciated and understood deeply (e.g. page: 881 - 2136 to 2240) and I am really sure that she would like this ''ending'':
''This is not the story of my life, but the myth of the story of my life''
Carl Gustav Jung.
... And knowing Monique’s sense of humour, she certainly would add:''... maybe ...''
Thank you for your attention
***** (News clipping : An artist leaves us.)