Two Mountains come from Riopelle’s Jeux de ficelles series, which was produced between 1969 and 1971, and was composed of almost one hundred acrylics on paper. The first major foray of the artist into the use of acrylics, the series was exhibited in 1972 at the Canadian Cultural Centre and Musée d’art moderne in Paris, and was described by the critic Robert Enright as “among his most important works on paper.” The primary inspiration of this productive moment was Riopelle’s introduction to string games played by Inuit communities during the winter months. These games, consisting of transforming figures made from loops of string held between fingers, were an important part of the social life and storytelling traditions in Arctic communities, and depicted animated animals and shifting figures in order to reproduce stories or accompany songs.

While producing the Jeux de ficelles works, Riopelle kept in his Meudon studio a copy of Guy Mary-Rousselière’s book Les jeux de ficelles des Arviligjuarmiut, which included extensive illustrations of the forms and methods of these games. The resulting images “can be interpreted to represent two distinct categories: the string figure as a central motif, and the string figure as a point of departure from improvisation.” Two Mountains seems to suggest that Riopelle saw within the web of intersecting lines and forms a landscape; an approach consistent with a recurring aspect of his practice throughout his career. Even at his most abstract, the dense, layered surfaces and interlocking forms of his abstractions often evoke terrain, forests, waterways and geological formations. This bold, exciting work from his crucial mid-career period demonstrates Riopelle at his most playful and vibrant.

Heffel is proud to be a presenting partner of the inauguration of the new Espace Riopelle – Michael Audain Pavilion at the Musée national des beaux-arts du Québec, opening its doors on October 22.