Christine Vaillancourt received her BA from the University of North Carolina at Chapel Hill and MA from the Rhode Island School of Design, with continuing education at the School of the Museum of Fine Arts and Kent State University.

Christine received the Best in Show Award at the Newport Rhode Island Art Museum in 2003 resulting in a one-person exhibition at the museum in 2004 titled “Techno-Retro.”  In 2009, her painting was awarded Juror's Choice in Painting at the juried exhibition at the Provincetown Art Museum. Christine presently has a one-person exhibition at the Mayor’s Gallery, Boston City Hall, MA June 3-July19,2019, 5th floor, M-F 9-5.

She has exhibited in the United States as well as in Canada and Taiwan. Christine’s one-person shows include Creiger-Dane Gallery in Boston, 1999; Andrea Schwartz Gallery in San Francisco, 2002; Newport Art Museum in 2004; Nikola Rukaj Gallery in Toronto, 2004, and Lanoue Gallery in 2015. She was a featured artist with the Rukaj Gallery at the Toronto International Art Fair, 2004 and 2015. Her work was included in the Fuller Museum Triennial in 2000 and a traveling museum exhibition, 2002-04. Christine was featured in three juried publications of the New American Painting Magazine. She had a one-person invitational exhibition at the Boston Convention Center in 2007. Her work has been in numerous group shows in Boston and throughout the United States.

Among her corporate clients are Bank of Montreal, Biogen IDEC in Waltham and Cambridge, Massachusetts; ITT, MCI, SAP America; Nordstrom in Massachusetts, California, Texas, and Florida; Bloomingdales in Massachusetts, Georgia and New York; Westin Hotel, Harvard Vanguard, Brigham and Women’s Hospital, Essex Investments, Intercontinental Residences Boston, Dana-Farber, and Fidelity in Boston; Hale and Dorr in New York and Boston; Neiman Marcus in Georgia and Massachusetts; CSC Index in New York and Chicago; ONEX and MAC Make-up in Toronto; Tokyo Millennium in Bermuda. Her work is in private collections in the United States and abroad.

Christine is represented by Nikola Rukaj Gallery in Toronto, Andrea Schwartz Gallery in San Francisco, Dean Day Gallery in Houston, and the Lanoue Gallery in Boston.


After experimentation over time, I developed my technique of manipulating acrylic gel mediums to look like encaustic (wax). As part of the process, I apply multiple translucent layers trapping the geometric shapes beneath and allowing some shapes to pop the surface. The result is an implied and actual depth.

The imagery in my work evokes contemporary industrial urban design and architecture while the motifs draw inspiration from patterns and designs of the 1950s, the period of my childhood in Detroit, Michigan. The Modernist home I grew up in was filled with objects and materials that made an impact on the direction of my art, from the patterns of our bold geometric drapes, translucent patterned Formica countertops, bulbous lamp stands, stylized wallpaper, and Russell Wright pottery, to our home’s linoleum square-tiled floors. Like many Detroiters, our family had a long history with the automotive industry. Trained by his father, my father began his career in automotive and aircraft design and later evolved into home design and construction. Thus I grew up in this creative atmosphere, stimulated by my surroundings, and influenced by the transportation, architectural and industrial concepts of the times.

The modernist Bauhaus, geometric Art Deco, and Concrete Art movements that flourished between the world wars were still visible in the post-war environment I was exposed to growing up. As an adult, I gravitated to the work of German architect Walter Gropius, founder of the Bauhaus; the geometric textiles of French artist Sonia Delaunay; the paintings of Swiss artist Sophie Taeuber-Arp, Dutch DeStijl painters Piet Mondrian and Theo van Doesburg, and Russian painters Wassily Kandinsky and Kazimir Malevich, originator of Suprematism; and Hungarian sculptor Lásló Moholy-Nagy, famous for his mobiles. These European artists had a great influence on each other and on another artist I admire: Hans Hofmann, German-born American Abstract Expressionist, whose greatest and most celebrated body of work was created in the 1960s.

Among the contemporary nonrepresentational artists that intrigue me are the American sculptors Joel Shapiro, David Smith and Donald Judd; Iraqi-British architect Zaha Hadid, and American painter Robert Mangold, all of whom owe a debt to Modernism.

While my paintings do reference present day architecture and design, I hope to connect the viewer to the past. The translucent layers reveal forms beneath the surface, much like leaves buried in pond ice. The bold geometric forms are not hard-edged, but rather imperfect, soft-edged, slightly weather worn, revealing the human hand. As though suspended in an aquarium-like space, the shapes appear poised to move and sometimes gently bump the edges of the painting. The work is meant to create a mood of time passing, as well as a timeless connection to the future. 

My paintings are in private and corporate collections in the United States and Canada.  In 2018, I was awarded an art-integrated commission for the glass on one, possible two, elevator towers for Ball Square Station, Somerville, by the Massachusettes Bay Transportation Authority (MBTA) expected to be installed in spring of 2020 (See "Commission").  Although my paintings appear in many corporate settings, this is my first public art project.