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2021_pi_À travers les bois_face_Camille Rajotte.jpg
2021_pi_Flotter 1_Camille Rajotte.jpg
2017_pi_Depuis la sinuosité de la rivièr
Camille Rajotte
Camille Rajotte
Camille Rajotte
Camille Rajotte

© Camille Rajotte

À travers les bois, 2021

Permanant public artwork, Ville-Marie Hospital, Ville-Marie Qc

The artwork À travers les bois is made up of different components that together create the image of a snowshoe. This anamorphosis thus allows a different appreciation of the work depending on the position of the viewer, outside or inside the building. Outside, as users approach the building, various elements are deployed and form a human-scale public place. It is then possible to sit or walk between these elements in order to appreciate the four panels. These are perforated with organic patterns referring to natural peculiarities of the region; birch leaf, waves and cedar branches. Once inside, the user will be able to contemplate the work as a whole and see the image of the snowshoe assembled. He will also see the rope appear through the patterns in transparency.


Radio interview at Radio-Canada


Flotter, 2021

Permanant public artwork, Parc national de la Jacques Cartier, Stoneham

Flotter is a simple, functional and evocative artwork. Taking the form of a maple samara, the work is delicate, both in composition and in its integration into this exceptional natural place. The work consists of an openwork aluminum panel, representing the wing of the samara, as well as a carved stone, evoking the body. It can be admired from the rest rooms of the Service Center, from the terrace or from the path along the river, it can also be used as a bench and allow an ideal positioning to relax and observe the panorama.


The artwork Flotter, representing the maple seed, the official emblem of our country, but also a ubiquitous tree in the valleys of Parc national de la Jacques-Cartier, thus echoes our wonder at the creations of nature, regardless of our age. or our nationality.

Au jeu! (unrealised), 2019

Proposition d'oeuvre d'art intégrée à l'aréna Mike Bossy, Laval

Au jeu! is a simple, functional and evocative installation. Indeed, it is a stack of round black pellets that directly refer to one of the essential elements in the practice of our national sport, that is to say the hockey puck. As the arena was spontaneously associated with the practice of the sport, it was decided to represent the puck as an emblem at the entrance to the new Mike-Bossy complex. At the same time, the work honors this remarkable hockey player whose arena proudly bears his name. The idea is to take the shape of hockey pucks, but multiply the scale by 1200%! The pellets thus created will be on a human scale and can serve as a bench or a small platform. The arrangement, referring to the random positioning of a batch of pucks placed on the ice, will allow different places and levels to sit.


Incline, 2018

Third Shift Public Art Festival, Saint John (NB)

This installation highlights a series of windows cut at ground level by the elevation of Grannan Street. Taking the form of these windows and their brick frame, the project is concretized by three modules deposited on the ground. These in turn play with the incline and become a short staircase. While being useful, this project wish to draw attention on an architectural feature often seen in Uptown St John.


Depuis la sinuosité de la rivière (unrealised), 2017

Proposition d'oeuvre d'art public, Passerelle des Trois Soeurs, Québec

Depuis la sinuosité de la rivière is composed of two benches installed on one side and the other of the Trois-Sœurs pedestrian footbridge. Combining sinuous and geometric shapes, these two fully functional works metaphorically illustrate the St-Charles River and two neighborhoods on each side, namely the St-Sauveur and Vanier neighborhoods. The work will invite people to observe in a new way the environment they inhabit, travel through or visit. It will also be a place to relax, pause or wait that can accommodate several people, defining different spaces for socializing while providing privacy for everyone.

The inverted square, 2016

Art piece realised in collaboration with the artist residency at Jiwar Creacio I Societat, Barcelona (Spain)

The Inverted Square is a temporary installation inspired by La Plaça del Diamant. The work represents the empty space impressed into the urban fabric by the square. The centrepiece is a geometric structure consisting of a platform and several modules representing the inverted topography of the square and the buildings facing it. The structure’s base represents a hypothetical ceiling above the buildings. The height of the platform and modules is proportional to the distance between this ceiling and, respectively, the square and its buildings. The higher the building, the shorter the module representing it will be. To sum up, the structure “translates” the architectural environment into an inverted, and scaled-down, version of itself.


The work, while directly interacting with its immediate context, fulfils a twin vocation as both sculpture and street furniture, with multiple levels each providing places for adults and kids to sit, climb or play. The project is designed to encourage people to take a break from the constant movement of city life by encouraging passerby to stop, interrogate, take a seat and, above all, be more attentive to the urban environment they occupy. Thus, by a playful yet intellectually stimulating experience, this installation will allow residents and visitors to observe in a new way this space they inhabit or they visit.


Thanks to Mireia Estrada, Maria-Jesus Bronchal and Fernando Bravo for their help and collaboration in this project.


Fais à ta guise!, 2015

Project realized during an  artists residency at Espace Projet, Montreal (Canada) 


This project questions the habits in the common space. Various removable street furniture (chairs of pavement, gaming tables, slide and stools) have been added so the people can appropriate them and move them according to their needs. By requesting the use, the installation does not occupy a location in a exclusive way, but shares a space with the city-dweller and participates to the active life of the urban environment. In this way, the project aims at fitting into the habits of use of the urban everyday life while creating new possibilities and visual diversity. Finally, the added elements are custom-made for the environment of integration what restricts their movement to this precise place given the usual ineffectiveness that they would have somewhere else.

Uselessness, 2014

Art piece realised during an artist residency at ZK/U Zentrum für kunst und urbanistik, Berlin (Germany)

Uselessness is a project based on an urban intervention made on two existing park benches located in Moabit neighbourhood, in Berlin. The benches are constructed out of steel frames which makes them almost impossible to sit on. The project, by recovering those frames with wood, intends to offer a sculptural intervention that reimagines the benches as abstract shapes while also making them functional.


L'élan (unrealised), 2014
Proposal, Public Art Contest, Première Ovation, Quebec City (Canada)

L'élan is an abstract and dynamic sculptural work mainly inspired by the landscaping in which it is situated and activities which take place there. It appears as a continuity of the landscaping. Halfway between the sculpture and the street furniture, L'élan proposes at the same time contemplative and functional forms. Constituted of three elements, the work deploys at first horizontally in the continuity of the pavement, revitalizes then to create a seat and, finally, stretches in an energetic sculptural shape. In the evening, internal lighting will highlight the chinks of the structural plan so the work will become a light-sculpture.

Circulations, 2014

La Fabrique building, 295 boul. Charest est, Québec City


Circulations questions the incomplete form of the column and plays with the oblique angle suggesting the absence of a peice. The column is completed by the addition of a triangular module translated and wedged between the ceiling and floor. The module is presented as a monolith at the entrance to the School of Visual Arts. It is massive and imposing while being of great sensitivity through organic texture of the material. By placing a mirror on the oblique face of the column and on the face opposite to it by the module light and the movement of the street is used to make the lobby more alive. This mirror game, in addition to stage the constant flow of Charest Boulevard, creates repetition of patterns and colors.


Photo credit: Renée Méthot


La colonne Morris, 2013

La Fabrique building, 295 boul. Charest est, Québec City


"This proposal questions the incompleteness of the column and uses the triangular shape formed by this missing piece. The shape comes first merge at the base of the column and then is detached in a very flexible movement. This gives life to the missing piece and active it as a foreign element that opposes the rigor of the right angle that it should have formed. "



Crédit photo : Renée Méthot

EN Uselessness
EN Élan
EN Fais à ta guise
EN Place inversée
EN Depuis la sinuosité
EN Incline
EN Circulations
EN Colonne Morris
EN À travers les bois
EN Flotter
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