Isabelle Beaubien

Color is the central theme that runs through all of my work. I’m endlessly fascinated by its emotional power — how the right combination can speak louder than words, shift a mood, or awaken a memory. I’m constantly asking, What happens when these two colors meet? Can they sing together? Can they challenge each other? The exploration never ends. It’s a search for resonance, energy, and balance.

A pivotal moment came when I fully embraced my instinctual relationship with color and allowed myself to truly trust the process. I stopped painting what I thought people wanted to see and began creating from a place of deep, personal expression. That shift changed everything — it unlocked a freedom and authenticity that people responded to immediately. I realized that color wasn’t just an element in my work — it was the work. From that point on, I let the process of layering, contrasting, and exploring color guide me.

Acrylics are essential to my process because they allow me to move quickly and build up layers without losing momentum. Their immediacy suits the way I work — fast, intuitive, and physical. I don’t use traditional brushes. Instead, I create my own tools, which gives me a unique range of marks and movements that are specific to my language as an artist. These custom tools help me step away from precision and lean into gesture, rhythm, and flow. I often work on multiple pieces at once, letting one inform the next. It’s a dynamic process — all about movement, instinct, and the ongoing search for that perfect, resonant color combination. Another essential element in my practice is the thick layer of resin I apply to many pieces. It transforms the surface, adding depth and a completely different texture. In some works, it amplifies the vibrancy of the color and creates a sleek, almost liquid finish. For others — especially my tondos — the resin gives the piece a sculptural quality. It’s no longer just a painting on a wall; it becomes an object in space. That added dimensionality feels essential to how I want the work to be experienced.

I want people to feel energized — emotionally moved by the color, the texture, the rhythm. But I also want them to be unsure of what exactly they’re looking at. Is it a painting? A collage? A digital impression? That moment of confusion is something I love, because it creates an opening for curiosity and conversation. When people pause and start asking questions, they’re engaging with the work in a deeper way. My goal is to create a sensory experience — something that feels immediate and emotional, but also invites reflection and dialogue. If someone walks away feeling something they can’t quite explain, then the work has done its job.

My days follow a rhythm — almost like a 9 to 5. I start with a short walk with my dog, then make a good cup of tea before heading down to the studio. The very first thing I do is put on music — it’s always there. Music is a total part of my process; it sets the tone, carries the energy, and helps me stay connected to the work on an emotional level. Once I’m in the flow, I usually begin by mixing colors — it helps me tune into the mood of the day and the direction of each piece. I usually work on multiple paintings at once — often three at a time — over the course of two or three weeks. Each painting goes through so many steps: building up layers, refining color relationships, creating texture, and finally applying the resin. Because of that, a certain level of organization is absolutely necessary. Timing is everything — the drying periods, the layering sequences, the resin curing — it all has to be carefully managed. There’s a rhythm to it, a quiet intensity. It’s a process that demands both discipline and openness, and that balance keeps me completely engaged.

I want to keep pushing the boundaries of what color can do — to keep discovering unexpected combinations that surprise me and move others. Color is infinite, and my fascination with it never fades. I want to intensify the collaborative side of my practice — to keep working with designers, architects, and curators who believe in the emotional and transformative power of color, and to explore even more meaningful ways to bring that vision into new spaces and contexts. For many years, I’ve shown my work at art fairs all over the world, and it’s been an incredible way to connect with audiences internationally. But now, I feel a strong pull to return to my roots — to go back to where it all really began — and find opportunities to work in the UK again. Here in Canada, spaces are so vast and spread out that most of us work from home studios. While that has its benefits, I miss the vibrant studio community I had in London — the daily interaction with other artists, the energy, the conversations, the shared creative atmosphere. I miss feeling part of something bigger, a true artistic ecosystem. Reconnecting with that sense of community feels like the right next step for me, as I continue to evolve my practice. Ultimately, I want to stay curious, stay open, and keep making work that resonates — both visually and emotionally.